tag:blogger.com,1999:blog-44882640265854202162024-03-13T08:46:20.828+00:00transforma bTransformahttp://www.blogger.com/profile/11139847328945551611noreply@blogger.comBlogger18125tag:blogger.com,1999:blog-4488264026585420216.post-59634756987749903652007-11-14T15:48:00.000+00:002008-11-13T22:19:15.392+00:00<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb_b3Y4DNy_sGEIDYnuWeBTb3aw3Fpg7QCrhJ-MpoOw74SMhIL4FTLQootv5YiCTTAkkw2HC-K1KOcyDNbGaukgDwE2pzrg1qGnFBix-Wt5XbMU8E3OvcIQZsVWF_pLgvwIsFWnK55YG9N/s1600-h/Salão+café+copy2.jpg"><img id="BLOGGER_PHOTO_ID_5132756511997290770" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 338px; CURSOR: hand; HEIGHT: 244px" height="235" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb_b3Y4DNy_sGEIDYnuWeBTb3aw3Fpg7QCrhJ-MpoOw74SMhIL4FTLQootv5YiCTTAkkw2HC-K1KOcyDNbGaukgDwE2pzrg1qGnFBix-Wt5XbMU8E3OvcIQZsVWF_pLgvwIsFWnK55YG9N/s320/Sal%C3%A3o+caf%C3%A9+copy2.jpg" width="330" border="0" /></a><br /><br /><br /><p align="left"><span style="font-size:85%;"><span style="font-size:100%;"><span style="font-family:georgia;"><strong></strong></span></span></span></p><p align="left"><span style="font-size:85%;"><span style="font-size:100%;"><span style="font-family:georgia;"><strong></strong></span></span></span></p><p align="left"><span style="font-size:85%;"><span style="font-size:100%;"><span style="font-family:georgia;"><strong></strong></span></span></span></p><p align="left"><span style="font-family:georgia;"><span style="font-size:85%;color:#000000;"><span style="font-size:100%;"><strong>TORRES VEDRAS, APROXIMAÇÃO LIMITADA A UMA CIDADE, PARTE 1<br /></strong></span>conferência / <span style="color:#999999;">conference</span><br />ANDRÉ GUEDES (PT)<br /><strong><br />16 Nov/ 21h30 <span style="color:#999999;">16th Nov/ 9:30pm<br /></span></strong><em>Armazém <span style="color:#999999;">Warehouse</span>, Pátio Alfazema, Torres Vedras</em></span></span></p><p align="left"><strong></strong><span style="font-family:georgia;"><br /><span style="font-size:85%;">1 _ O projecto “Torres Vedras – Aproximação limitada a uma cidade, parte 1” tem como matriz espiritual a conferência proferida em 1971 pelo artista Robert Smithson (1938-1973) a uma plateia de estudantes de arquitectura da Universidade de Utah, a quem apresentou as impressões da sua visita ao Hotel Palenque no México em 1969.<br />A conferência que ainda hoje sobrevive sob a forma instalação, consistiu numa projecção de diapositivos a cor de várias vistas do interior e do exterior do hotel, ao longo da qual Smithson realizava a cada imagem um comentário específico, desenvolvendo assim uma caracterização sucessiva (e pessoal) daquele lugar.</span></span></p><div align="left"><span style="font-size:85%;"><span style="font-family:georgia;">2 _ “Torres Vedras – Aproximação limitada a uma cidade, parte 1” apoia-se num método de pesquisa e modo de apresentação próximo ao da obra Hotel Palenque de Smithson.<br />O objectivo da proposta será realizar uma leitura e análise de um território que tem a configuração morfológica e jurídica de uma cidade – Torres Vedras – e comunicar este resultado oralmente a um público num sistema que será semelhante ao de uma conferência.<br />A área de análise poderá circunscrever-se não necessariamente a todo o território urbano, mas apenas a uma parcela deste (um bairro, uma rua, etc.), ou mesmo centrar-se sobre um ou mais acontecimentos que poderão, ou não, ser isolados, pontuais, dispersos, com ou sem relação entre si. Por essa razão no título do projecto, “parte 1” refere que este se trata do início de um estudo sobre esse lugar, e que essa actividade poderá continuar em “partes” sucessivas e durante um período de tempo alargado (anos). Idealmente através de várias “partes” será possível construir um mapa de análise formado por diferentes temas (aspectos analisados) que se consolidariam entre si formando um retrato mais alargado, mas não forçosamente mais completo, desta cidade.<br />A análise não partirá de enquadramentos disciplinares precisos e definidos, mas antes numa prospecção que irá seleccionar e focar determinados aspectos daquela realidade a partir de um ponto de vista e motivação subjectivos. Pretende-se neste projecto elaborar uma visão sobre um lugar feita por alguém que é exterior, estrangeiro, a esse contexto e que os observa e analisa com os instrumentos individuais e idiossincráticos.<br /><br />3 _ É um postal da Estalagem de Santa Cruz, editado em meados dos anos 1960 aquando da sua inauguração, que determina o ponto de partida desta primeira parte da investigação. Esta imagem serviu de motor e pretexto para uma pesquisa que compôs vários dados historicamente contíguos entre si: a evolução do território da pequena povoação atlântica de Santa Cruz durante o séc. XX, a construção da Estalagem de Santa Cruz e o surto de construção neste lugar durante a segunda metade do séc. XX, as vastas instalações fabris da Casa Hipólito em Torres Vedras e o seu refeitório, equipamento vanguardista construído nos terrenos de aluvião da fábrica nos anos 1970 antes do encerramento da fábrica por falência em meados dos anos 1990.<br /><br />André Guedes, Março/Novembro 2007<br /><br />O artista agradece a prestável colaboração das seguintes pessoas durante as fases de residência de pesquisa e apresentação do projecto: Luis Filipe Cristovão, Rui Braz e Rui Silva (Museu Municipal de Torres Vedras), Bruno Ferreira (Grupo de Amigos de Santa Cruz), Venerando Aspra de Matos, Sérgio Simões (Hotel de Santa Cruz).<br /><br /><strong><span style="font-size:100%;">Biografia</span></strong><br /></span><span style="font-family:georgia;color:#000000;"><br />André Guedes nasceu em Lisboa em 1971. Vive e trabalha entre Lisboa e Vigo. Licenciado em Arquitectura na FA/Universidade Técnica de Lisboa, participou em diversos programas de residência de criação nomeadamente, Nosadella.due (Bolonha, 2007), Le Pavillon / Palais de Tokyo (Paris, 2004/2005), Fondazione Pistoletto/Cittadellarte (Biella, 2003), CENTA (Vila Velha do Rodão, 2003), Programa de Intercâmbio Budapeste-Lisboa (Budapeste, 2002). Recebeu em 2007 o Prémio de Artes Plásticas União Latina.<br />Participou em diversos eventos e exposições individuais e colectivas em Portugal e no estrangeiro. Nas exposições individuais destacam-se, “Informações/Information” (2007), Chiado 8, Lisboa; “Better Days” (2007), Museo Internazionale della Musica, Bolonha; “O jardim e o casino, a praia e a piscina” (2005), Galeria Lisboa 20, Lisboa; “Outras árvores, outro interruptor, outro fumador e uma peça preparada” (2004/2005), Museu de Serralves, Porto; “SlowMotion” (2003), ESTGAD, Caldas da Rainha; “Quartet for the last day” (2002), Praça Real, Budapeste.<br />Nas exposições colectivas destacam-se </span></span><a name="OLE_LINK2"></a><a name="OLE_LINK1"><span style="font-family:georgia;font-size:85%;color:#000000;">“La Ciudad Interpretada” (2006), Santiago de Compostela; “The Final Cut” (2005), Palais de Tokyo, Paris; “II Bienal de Jafre” (2005), Jafre del Ter; “Otras Alternativas” (2003), MARCO, Vigo; “Michelangelo Pistoletto & Cittadellarte &” (2003), MuKHA, Antuérpia; “Partituras e Paisagens” (2002), Festival Danças na Cidade / CAM-Fundação Calouste Gulbenkian, Lisboa; “Lisboa Capital do Nada” (2001), Lisboa; “Festival Brrr Live Art” (2001), Porto.</span></a><br /><span style="font-size:85%;"><span style="font-family:georgia;"><span style="color:#000000;">Concebeu e organizou diversos projectos expositivos, como a exposição “Depósito” (Casa Fernando Pessoa, 2000), o projecto “Em Tempo” (Lugar Comum, 2001), o projecto “A Dois” (CENTA e Museu Francisco Tavares Proença Júnior, 2003/05), e “Em Torno” (Núcleo de Experimentação Coreográfica, 2005).<br />Realizou e colaborou na concepção do espaço cénico das coreografias “Hors Sujet ou Le Bel Ici” (2007) de Martine Pisani, “como rebolar alegremente sobre um vazio interior” (2000) de Vera Mantero, “Notas para um espectáculo invisível” (2001) de Miguel Pereira.<br /></span><br /><br /></span><span style="font-family:georgia;color:#999999;">1 _ The project “Torres Vedras - Aproximação limitada a uma cidade, parte 1” has as spiritual matrix the conference that was given in 1971 by the artist Robert Smithson (1938-1973) to an audience of architecture students from the University of Utah, to whom he presented the impressions of his visit to the Hotel Palenque in Mexico in 1969.<br />The conference, which still today survives in the form of document, consisted in a projection of colour slides of several views of the interior and exterior of the hotel, during which Smithson did a specific comment about each picture, developing this way a successive (and personal) characterization of that place.<br /><br />2 _ The proposal “Torres Vedras - Aproximação limitada a uma cidade, parte 1” is supported by a research method and way of presentation close to the ones made by Robert Smithson in his work Hotel Palenque.<br />The objective of the proposal will be to accomplish a reading and an analysis of a territory that has the morphologic and juridical configuration of a city – Torres Vedras – and to communicate orally the results to a public in a format similar to a conference.<br />The analysis area can be limited and not necessarily the whole urban territory, but just to a portion of it (a neighbourhood, a street, etc), or even to be centred on one or more events that will be able to be isolated or not, punctual, dispersed, with or without relationship among themselves. For that reason in the title of the project, “parte 1” refers that this is the beginning of a study about that place, and that the project can continue in successive "parts" and during an enlarged period of (years) time. Ideally through several "parts" it will be possible to build an analysis map formed by different themes (analyzed aspects) that would bind between them forming a picture more enlarged, but not necessarily more complete, of this city.<br />The analysis won't start from precise and defined disciplinary framings, but from a survey that will select and focus certain aspects of that reality, from a subjective motivation and point of view. It is intended in this project to create a vision of a place made by someone that is external, foreigner, to that context and which observes and analyzes it with the individual and idiosyncratic tools.<br /><br />3 _ A postcard of Estalagem de Santa Cruz, edited in the mid 60’s, when it opened, determines the starting point of the first part of this research. This picture was the impulse and the pretext to do a research which arranged several historical data contiguous to each other: the evolution of Santa Cruz’, a small atlantic village, territory during the 20th century, the construction of the Estalagem de Santa Cruz and the construction boom in this village during the second half of the 20th century, the vast industrial installations of Casa Hipólito in Torres Vedras and its canteen, vanguardist equipment built during the 70’s in the factory’s alluvial terrains, before its closing due to bankruptcy in the mid 90’s.<br /><br />André Guedes, March/November 2007<br /><br />The artist thanks the helpful collaboration of the following persons during the research residency phases and the project’s presentation: Luis Filipe Cristovão, Rui Braz e Rui Silva (Torres Vedras Municipal Museum), Bruno Ferreira (Grupo de Amigos de Santa Cruz), Venerando Aspra de Matos, Sérgio Simões (Santa Cruz Hotel).<br /><br /><strong><span style="font-size:100%;">Biography</span></strong><br /><br />André Guedes was born in Lisbon, in 1971. He lives and works in Lisbon and in Vigo. He holds a degree in Architecture from FA/Universidade Técnica de Lisboa, and participated in several residency programs, such as Nosadella.due (Bologna, 2007), Le Pavillon / Palais de Tokyo (Paris, 2004/2005), Fondazione Pistoletto/Cittadellarte (Biella, 2003), CENTA (Vila Velha do Rodão, 2003), Budapest-Lisbon Interchange Program (Budapest, 2002). He was awarded the Latin Union Plastic Arts Prize.<br />He participated in several events and individual and collective exhibitions in Portugal and abroad. The most important Individual exhibitions were: “Informações/Information” (2007), Chiado 8, Lisbon; “Better Days” (2007), Museo Internazionale della Musica, Bologna; “O jardim e o casino, a praia e a piscina” (2005), Galeria Lisboa 20, Lisbon; “Outras árvores, outro interruptor, outro fumador e uma peça preparada” (2004/2005), Serralves Museum, Porto; “SlowMotion” (2003), ESTGAD, Caldas da Rainha; “Quartet for the last day” (2002), Praça Real, Budapest.<br />The most important collective exhibitions are: “La Ciudad Interpretada” (2006), Santiago de Compostela; “The Final Cut” (2005), Palais de Tokyo, Paris; “II Bienal de Jafre” (2005), Jafre del Ter; “Otras Alternativas” (2003), MARCO, Vigo; “Michelangelo Pistoletto & Cittadellarte &” (2003), MuKHA, Antwerp; “Partituras e Paisagens” (2002), Festival Danças na Cidade / CAM-Calouste Gulbenkian Foundation, Lisbon; “Lisboa Capital do Nada” (2001), Lisbon; “Festival Brrr Live Art” (2001), Porto.<br />He conceived and organized several exhibitional projects, such as the exhibition “Depósito” (Casa Fernando Pessoa, 2000), the project “Em Tempo” (Lugar Comum, 2001), the project “A Dois” (CENTA and Francisco Tavares Proença Júnior Museum, 2003/05), and “Em Torno” (Núcleo de Experimentação Coreográfica, 2005).<br />He made and contributed to the conception of the scenic space of the following choreographies: “Hors Sujet ou Le Bel Ici” (2007) by Martine Pisani, “como rebolar alegremente sobre um vazio interior” (2000) by Vera Mantero, “Notas para um espectáculo invisível” (2001) by Miguel Pereira.</span></span></div>Transformahttp://www.blogger.com/profile/11139847328945551611noreply@blogger.com0tag:blogger.com,1999:blog-4488264026585420216.post-82286997603445207032007-11-09T16:42:00.000+00:002008-11-13T22:19:15.715+00:00<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiTi8LGMGueLGKXyorC_BVpB0jk2_L41RCUcW-_PoRyeaF8E1g_i5vXItqZLGFJEDOS8sqm4bWEkwmMPaSOK5WkGw0K-QrQPJuMiXa2xUWAV9RPbS5Jh21bxvc3veqX6HfTCypKpgqajf6/s1600-h/Escape_2004_2.jpg"><img id="BLOGGER_PHOTO_ID_5130887082409575698" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiTi8LGMGueLGKXyorC_BVpB0jk2_L41RCUcW-_PoRyeaF8E1g_i5vXItqZLGFJEDOS8sqm4bWEkwmMPaSOK5WkGw0K-QrQPJuMiXa2xUWAV9RPbS5Jh21bxvc3veqX6HfTCypKpgqajf6/s320/Escape_2004_2.jpg" border="0" /></a><br /><div><span style="font-family:georgia;font-size:130%;"><strong>Inauguração...</strong></span> </div><div><br /></div><span style="font-family:georgia;"><span style="font-family:georgia;font-size:85%;"><strong><span style="font-size:100%;"></span></strong></span></span><div><span style="font-family:georgia;"><span style="font-family:georgia;font-size:85%;"><strong><span style="font-size:100%;"></span></strong></span></span></div><div><span style="font-family:georgia;"><span style="font-family:georgia;font-size:85%;"><strong><span style="font-size:100%;">DESEDIFICAR O HOMEM exposição <span style="color:#999999;">exhibition</span>* </span></strong></span></span></div><div><span style="font-family:georgia;"><span style="font-family:georgia;font-size:85%;"><strong>Curadoria de Curated by:</strong> Hugo Dinis (PT)</span></div></span><div align="left"><span style="font-family:georgia;font-size:85%;"><br />Inserida no novo programa de itinerâncias da Colecção de Serralves – ANTENA – esta exposição, protocolada com a Câmara Municipal de Torres Vedras, propõe algumas aproximações da arte contemporânea à discussão sobre o género masculino. Partindo da figura da “matrafona” e atendendo às diversas características da construção da identidade masculina – profissional, social, económica, familiar, lúdica e sexual –, apresentam-se obras que alargam o debate, questionam estereótipos e abalam preconceitos. Multiplicar e problematizar vários pontos de vista pode ser o início da edificação plural e colectiva de um outro homem. Na Transforma estarão expostas as seguintes obras: “Boucing Balls”, de Bruce Nauman; “Escape” e “Contradiction”, de João Leonardo. </span></div><span style="font-family:georgia;font-size:85%;"><div align="left"><br /><span style="color:#999999;">This exhibition is part of the new programme of itinerant exhibitions, featuring works from the Serralves Foundation's collection – ANTENA –, an agreement with Torres Vedras Municipality, proposes a discussion on the masculine gender through the perspective of contemporaneous art. Based on the figure of the “matrafona” and considering several characteristics of the masculine identity construction – professional, social, economic, ludic and sexual –, these works enlarge the debate, question stereotypes and shake prejudices. To multiply and put in doubt several points of view may be the beginning of the plural and collective edification of another man. At Transforma will be in exhibition the following works: “Boucing Balls”, Bruce Nauman; “Escape” and “Contradiction”, João Leonardo. </span></div><span style="color:#999999;"><div align="left"><br /></span>10 (Sáb) Nov / 17h00 / inauguração <span style="color:#999999;">10th (Sat) Nov / 5pm / opening</span><br />12 Nov - 27 Jan 2008 / Seg - Sáb / 10h00 - 19h00 <span style="color:#999999;">12th Nov - 12 Jan 2008 / Mon – Sat / 10am - 7pm</span><br /><em>Transforma, Praça do Município, 8, Torres Vedras</em></div><em><div align="left"><br /></em>15 (Sáb) Dez 2007/ 17 h00/ Screening**/Conversa com o artista João Leonardo: José António Fernandes Dias (Professor - FBAUL) <span style="color:#999999;">15 (Sat) Dec 2007/ 5pm/ Screening/Conversation with the artist João Leonardo: José António Fernandes Dias (Professor - FBAUL)<br /></span>19 (Sáb) Jan 2008/ 17 h00/ Visita Guiada: Hugo Dinis <span style="color:#999999;">19 (Sat) Jan 2008/ 5pm/ Guided Tour: Hugo Dinis<br /></span><em>Auditório do Edifício Paços do Concelho</em></div><em><div align="left"><br /></em><span style="font-size:78%;">* Outras obras estarão em exposição na Galeria Municipal Paços do Concelho e na Doispaços Galeria Municipal Other works will be in exhibition at Galeria Municipal Paços do Concelho and Doispaços Galeria Municipal<br />** Vídeos: As Time Goes By, 2006; The Hair of The Dog, 2004; The Message, 2005; The Funeral Party, 2004; Clean, 2003; Untitled (red), 2003; Sony Cybershoot (memory stick), 2005 Videos: As Time Goes By, 2006; The Hair of The Dog, 2004; The Message, 2005; The Funeral Party, 2004; Clean, 2003; Untitled (red), 2003; Sony Cybershoot (memory stick), 2005<br /></span><br /><br /><strong><span style="font-size:130%;">A decorrer até 17 de Novembro… <span style="color:#999999;">Taking Place until 17 November… </span></span></strong></div><div align="left"><strong><span style="font-size:100%;"><span style="color:#999999;"><br /></div></span></span></strong><strong></strong><div align="left"><strong>HORROR VACUI</strong> instalação <span style="color:#999999;">installation</span></div><div align="left">Michael Pinsky (UK)</div><div align="left">Seg – Sáb, 10h00 - 19h00 <span style="color:#999999;">Mon – Sat, 10am - 7pm</span> </div><div align="left"><em>Armazém warehouse, Pátio Alfazema, Torres Vedras </em></div><div align="left"><em><br /></div></em><strong></strong><div align="left"><strong>ON EARTH</strong> documentário instalação <span style="color:#999999;">documentary installation</span></div><div align="left">Cabula6 (AT) Jeremy Xido (US) + Claudia Heu (AT) </div><div align="left">Seg – Sáb / 16h00 - 19h00 <span style="color:#999999;">Mon – Sat / 4pm - 7pm</span> </div><div align="left"><em>Armazém warehouse, Pátio Alfazema, Torres Vedras </em></div><div align="left"><em><br /></div></em><strong></strong><div align="left"><strong>UMA CASA NO CASTELO</strong> intervenção multidisciplinar <span style="color:#999999;">multidisciplinary intervention</span> </div><div align="left">Seg – Sáb, 10h00 - 19h00 <span style="color:#999999;">Mon – Sat, 10am - 7pm</span> </div><div align="left"><em>Casa do Castelo, Rua Capitão Luís Boto Pimentel (antiga former </em></div><div align="left"><em>Rua do Castelo), 11, Torres Vedras </em></div><div align="left"><em><br /></div></em><strong></strong><div align="left"><strong>a mão que faz o desenho inscreve a palavra</strong> instalação <span style="color:#999999;">installation</span> </div><div align="left">Isabel Baraona (PT) </div><div align="left">Seg – Sáb, 10h00 - 19h00 <span style="color:#999999;">Mon – Sat, 10am - 7pm</span> </div><div align="left"><em>Transforma, Praça do Município, 8, Torres Vedras</em></div><div align="left"><em></em> </div><div align="left"><em></em> </div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"><strong>A OPORTUNIDADE DO ESPECTADOR – THE CURATOR’S OFFICE</strong> instalação installation</div><div align="left">Rogério Nuno Costa (PT) </div><div align="left">Seg – Sáb, 10h00 - 19h00 <span style="color:#999999;">Mon – Sat, 10am - 7pm</span> </div><div align="left"><em>Transforma, Praça do Município, 8, Torres Vedras </em></div><div align="left"><em><br /></div></em><strong></strong><div align="left"><strong>LIFE PROJECT</strong> instalação <span style="color:#999999;">installation</span> </div><div align="left">A Oportunidade do Espectador_Dogma Project (Lisboa) </div><div align="left">Artur Félix (PT) </div><div align="left">Seg – Sáb, 10h00 - 19h00 <span style="color:#999999;">Mon – Sat, 10am - 7pm</span> </div><div align="left"><em>Transforma, Praça do Município, 8, Torres Vedras </em></div><div align="left"><em><br /></div></em><strong></strong><div align="left"><strong>AROUND THE CORNER</strong> instalação vídeo <span style="color:#999999;">video installation</span></div><div align="left">Vitor Roriz (PT) + Davis Freeman (US) </div><div align="left">Seg – Sáb, 10h00 - 19h00 <span style="color:#999999;">Mon – Sat, 10am - 7pm</span> </div><div align="left"><em>Transforma, Praça do Município, 8, Torres Vedras</em><br /></div></span>Transformahttp://www.blogger.com/profile/11139847328945551611noreply@blogger.com0tag:blogger.com,1999:blog-4488264026585420216.post-17616723779999965832007-11-07T18:32:00.000+00:002008-11-13T22:19:16.031+00:00<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvcRf4z4EglKmJO9srkTG1TQAcQBkcFnAonBPRAkhi-fmP0zIHBX98FF2IS58xGkCKiIc0F-rodd8i56wvKUfURJ9DxmxxxH72YnZKypCxS8PY_dq2Ue2O3RmLq3svzE8LSZgO-iPIS67z/s1600-h/ONEARTH2.jpg"><img id="BLOGGER_PHOTO_ID_5130828018019320994" style="margin: 0px 10px 10px 0px; float: left;" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvcRf4z4EglKmJO9srkTG1TQAcQBkcFnAonBPRAkhi-fmP0zIHBX98FF2IS58xGkCKiIc0F-rodd8i56wvKUfURJ9DxmxxxH72YnZKypCxS8PY_dq2Ue2O3RmLq3svzE8LSZgO-iPIS67z/s320/ONEARTH2.jpg" border="0" /></a><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7FtwOPslThCF1_07_HBKbaLsmqzNJbe1k1Cqggruhu8Yuw5E-K6S-Q9vYm0Ze2XfrSlfKaCxb_iTnjhzNSWAD4AsDW88n5JlTQABikmTHThlxQulL9Eyb4iam1kb2Kudw0HjYh9-IoOik/s1600-h/ONEARTH.jpg"></a><br /><span style=";font-family:georgia;font-size:85%;" ><span style="font-size:100%;"><strong>On Earth</strong><br /></span>documentário instalação <span style="color: rgb(153, 153, 153);">documentary installation</span><br />Cabula6 (AT) Jeremy Xido (US) + Claudia Heu (AT)<br /><br />2 Nov / 18h30 / inauguração <span style="color: rgb(153, 153, 153);">2 Nov / 6:30pm / opening<br /></span>3 Nov / 17 Nov / Seg - Sáb, 10h00 - 19h00 / exposição<br /><span style="color: rgb(153, 153, 153);">3 Nov – 17th Nov / Mon - Sat, 10am - 7pm / exhibition<br /></span><em>Armazém <span style="color: rgb(153, 153, 153);">warehouse</span>, Pátio Alfazema, Torres Vedras</em><br /><br /><br />On Earth é sobre viajar e sobre o encontro com mundos diferentes.<br />Mais especificamente, é um trabalho sobre as histórias por trás das viagens: os caminhos que cada um de nós toma para chegar até este preciso momento em que nos encontramos. Como é que cheguei aqui? Como é que aqueles que me rodeiam chegaram aqui? Como é que as nossas vidas se cruzam com a desta cidade neste preciso momento? As pessoas que conhecemos, as suas histórias de vida, coisas que nos acontecem por acaso, temas que surgem, pequenos e grandes. Encontrar uma zona de contacto onde pessoas diferentes com vidas diferentes possam cruzar-se realmente. </span><br /><span style=";font-family:georgia;font-size:85%;" ><br /><br /><br /><strong>Conceito, Ideia, Apresentação:</strong> cabula6<br /><strong>Com:</strong> Claudia Heu, Jeremy Xido, Amanda Piña, Daniel Zimmermann, Mani Obeya, Zoe Knights, Fabrizio de Pasquale, Laurent Ziegler, Michel Villalobos, Ramon Villalobos, Nino Villalobos, Andrea Seewald, Jens Classen, Jorge Rojas, Carlos Rojas e convidados.<br /><strong><span style="font-size:100%;"><br />Biografia</span></strong><br /><br /><strong>Cabula6 (AT)</strong><br />A Cabula6 foi fundada por Jeremy Xido em 2000 e é, actualmente, co-dirigida por Xido e Claudia Heu. Sedeada na Áustria, a Cabula6 foca o seu trabalho na fronteira entre a realidade e a ficção, no difícil diálogo entre o sentido pessoal de identidade e a sua interacção dinâmica com o contexto social: “Esta companhia procura espaços não convencionais para apresentar os seus trabalhos, que tornem possível caminhar nesta linha, entre o que é “real” e o que é construído, procurando que a audiência se confronte com as suas dúvidas e expectativas sobre quem são. “Dedicamo-nos aos princípios do divertimento, humor, investigação e adrenalina. Gostamos de jogar.” www.cabula6.com<br /><br /><strong>Jeremy Xido (US)</strong><br />Cresceu em Detroit, mas foi em Nova York que fez os seus estudos de actor e bailarino. Praticou capoeira de Angola com o mestre João Grande em Nova York e com Mestre Morães em salvador da Baia, Brasil. Tem feito inúmeros trabalhos como performer nos Estados Unidos e na Europa em teatro, dança, cinema e televisão. Escreveu e dirigiu várias peças de teatro e curtas-metragens para cinema. Em 2000, fundou a companhia Cabula6, da qual é co-director com Claudia Heu, desde 2003. A companhia tem levado a cabo performances por toda a Europa e Estados Unidos.<br /><br /><strong>Claudia Heu (AT)</strong><br />Vive em Viena, Áustria, é directora, performer e professora de dança, teatro experimental e performance. Fundou o teatro ONNO e desde 2003 divide a direcção artística da Cabula6 com Jeremy Xido, tendo apresentado várias produções em toda a Europa e nos Estados Unidos. Para além do seu trabalho artístico, tem passado vários anos da sua vida envolvida em trabalho comunitário. Passou uma ano e meio a trabalhar numa favela nos arredores de São Paulo, Brasil, trabalhou, também, em campos de refugiados e em prisões na Áustria.<br /><br /><br />On Earth is about travelling and the meeting of different worlds.<br />More specifically, it is a piece about the stories behind travelling: the pathways that each of us take to arrive to this very moment where we are right now. How did I arrive here? How did those surrounding me arrive here? How do our lives intersect in this moment with this city? The people we meet, their life stories, things that happen to us by accident, themes that arise, big and small. To find a contact zone where different people with different lives could and really do intersect.<br /><br /><br /><br /><strong>Concept, Idea, Presentation:</strong> cabula6<br /><strong>With:</strong> Claudia Heu, Jeremy Xido, Amanda Piña, Daniel Zimmermann, Mani Obeya, Zoe Knights, Fabrizio de Pasquale, Laurent Ziegler, Michel Villalobos, Ramon Villalobos, Nino Villalobos, Andrea Seewald, Jens Classen, Jorge Rojas, Carlos Rojas and Guests.<br /><br /><strong><span style="font-size:100%;">Biography</span></strong><br /><br /><strong>Cabula6 (AT)</strong><br />Cabula6 was founded by Jeremy Xido in 2000 and is currently co-directed by Xido and Claudia Heu. Based in Austria, Cabula6 focuses on the border between reality and fiction and the uneasy dialogue between a person’s private sense of identity and its dynamic reception in a broader social context: “We search out non-traditional performance spaces that make it possible to walk this line, between what is “real” and what is constructed and which can bring audience members face to face with their assumptions and expectations about who they are. We are dedicated to principles of delight, humour, investigation and adrenalin. We love to play.”<br /><br /><strong>Jeremy Xido (US)<br /></strong>Originally from Detroit, Jeremy Xido trained as an actor and dancer in New York and plays Capoeira Angola with Mestre João Grande in New York and Mestre Morães in Salvador de Bahia, Brazil. He has worked extensively as a performer in the United States and Europe in theatre, dance, film and Television. He has written and directed a number of theatre pieces and short films. In 2000, he founded the company Cabula6 and has been co-director with Claudia Heu since 2003. The company has performed all over Europe and the United States.<br /><br /><strong>Claudia Heu (AT)<br /></strong>Lives in Vienna, is a director, performer and teacher in the field of dance, experimental theatre and performance. She is the founder of ONNO theatre, and since 2003 together with Jeremy Xido artist director of Cabula6 presenting productions all over Europe. In addition to the work in the theatre, she has spent years of her life involved in community work – from a year and a half working in a Favela on the outskirts of São Paulo, Brazil, to work in refugee camps and prisons in Austria.<br /><br /><span style="font-size:78%;"><span style="color: rgb(153, 153, 153);"><strong>PART 0</strong><br />The first letter we sent before we started to work on the project<br /><br />Hello Friends and Colleagues,<br /><br />We are preparing a new project called ON EARTH.<br /><br />And as with many of our projects, we are throwing a wide net out to many of our friends and colleagues to ask questions and get feed back in order to help us develop the piece. It’s important for us to know how people are thinking and living through the same sorts of issues and tensions in the world.<br /><br />The piece will be about the life stories of people who come from different places and are constantly moving around the world, mainly because of their work (or lack of work). Transnational mobility: Mobility as a practical, formative part of our reality.<br />If you have time to answer all or some of the questions and send them back, that would be great. They will help us immensely as we go into rehearsals next week.<br /><br />Thanks a lot,<br /><br />Jeremy and Claudia<br /><br />General Questions:<br /><br />- Why do we move and to where do we move as often as we move?<br />- How have modern means of communication changed the experience of being in a “foreign” place?<br />- How have they changed the experience of being at “home?”<br />- Can we really be in different places at the same time? If so, what part of us is where? And what happens to our identities when the power goes out?<br />- In what ways do international networks augment or enrich our personalities and in which ways do they diminish us?<br />- To what extent are our professional and personal needs at odds because of such mobility?<br />- In what concrete ways do our identities alter in each place that we find ourselves? Who determines these alterations and how? And why?<br />- Do you think there are other more pertinent questions that we aren’t asking ourselves? What are the most important ones that we have missed, do you think?<br /><br />More Personal Questions<br /><br />- Can you make a list of the different places where you have lived until now?<br />- How would you trace your personal background up until the moment you were born? What are the most significant points of your parents and grandparents pathways? Where are they from? And if they moved from place to place, why?<br />- And what are the pathways that have led you to be where you are now? What are the most significant elements in your personal history that have brought you to where you are now sitting? Both literally and figuratively?<br />- Where are your best friends living?<br />- How much time you spend home or the place you call home?<br />- If you don’t live at “home” for what reasons do you go home? When? And what is the experience usually like?<br />- Why do you call this place home?<br />- What are the things in the world now that you feel the most positive about? Both personally and globally?<br />- What are you the most worried about?<br />- How do you create home away from home?<br />- Where do you feel like an outsider and where do you not? And what are the things that make up the difference?<br /><br /><br /><br /><strong>PART I / Santiago De Chile<br />2nd to 23rd February, 2007<br /></strong><br />“3 semanas ON EARTH”<br /><br />We began this project, On Earth, on February first of this year when we landed at the airport in Santiago de Chile and were picked up by friends and colleagues, Amanda Piña and Daniel Zimmerman.<br /><br />We had made a deal with UNIACC University in Santiago to develop a new piece about mobility and migration, and in return for giving 3 weeks of workshops to Chilean Artists they gave us a rehearsal room to work in.<br /><br />It was a little less than half the size of this warehouse space in Torres Vedras, where you are right now. If you look down from the balcony, imagine: It had wood floors and a high ceiling. Good light. Beautiful…<br /><br />And we found ourselves in the middle of this room.<br /><br />And we asked ourselves why is this room any different really than a room in Vienna Austria or New York or Basel or Tokyo or Nairobi or Vancouver or somewhere else?<br /><br />There was a whole world waiting for us outside. And that’s really what interested us.<br />We wanted to find a place, a contact zone, where different people with very different lives could and really do intersect. We wanted chaos and chance on a grand scale.<br /><br />We threw ideas around and then Amanda, who is from Santiago, mentioned something that was an important theme for her: the story of Transantiago:<br />A massive change in the public transportation system that took place on February 10th – right in the middle of our stay. The old yellow busses that covered the city were being replaced by white busses with a green stripe in an attempt to “Europeanize” the system. It was the end of one way of life and the beginning of another.<br />So we decided to put our rehearsal space in a bus, what Daniel described as an “atelier on wheels”.<br /><br />We took a bus.<br /><br />For four or five days we rode to the end of bus lines, collected material, talked to people, got telephone numbers, took photos, recorded sounds, got heat stroke and CO2 poisoning. We met street musicians, and bus vendors, bus-drivers, spies, union organizers, regular people in outlying neighbourhoods with bad circulation in their legs, horses.<br /><br />Over the week we came up with a Structure for our presentation:<br /><br />ON EARTH STRUCTURE<br />Following the contours of our lives as they intersect with the worlds around us, we ask the questions: “How did we get to where we are right now?”; “Where are we?” and “Where to next?”<br /><br />Part one: arriving to where we are right now and being there.<br />Part two: traveling between worlds<br />Part three: arriving to where we will be<br /><br />We decided to organize the last yellow bus ride through Santiago de Chile. The plan was to begin in our rehearsal space and to terminate at the end of bus route 362 on the outskirts of town in the “Población Santiago”. There’s a little hut there where Teresa has been feeding the drivers of bus 362 for 20 years. The hut had to close on February 10th because the new busses didn’t serve their neighbourhood anymore, so this trip on Bus 362 was to be a ghost ride and Christian, the bus owner was to be our driver and ferry us back in time as we crossed the city into another world which no longer existed. We organized musicians and vendors to get on the bus along the way, just like on a normal day of the yellow buses for years.<br /><br />It was all planned for February 23rd.<br />Everything was prepared.<br />About a hundred people were scheduled to show up at UNIACC. The bus ride was going to be a surprise.<br />But on the 23rd, something was strange. The Yellow buses were strictly forbidden. The police were out checking for pirate busses. Forcing order on a chaotic system. We arrived to the space to prepare for the performance only to find out that they had revoked our permission to drive the bus across the city. We thought we would do it anyway – hell the Swiss and Austrian ambassadors would be on the bus, what could happen? The Chileans we were working with, however, said they wouldn’t do it. They were sure they would be arrested. They had images of jail and being tortured and absolutely refused. Anyway, Christian would never make it out of his neighbourhood, they said. The police would stop him as a Pirate Yellow Bus.<br /><br />At 2 pm Claudia ran off to the Police department and Austrian Embassy to see if they could do something, but it was too late. The audience was arriving a 6pm. So at 4pm, we cancelled the bus ride and invited everyone – Christian and his family, Teresa, the musicians – to come to UNIACC for an improvisation.<br /><br />The room was absolutely packed.<br /><br />We performed the first part like planned – a mixture of live performance and dance with a video from Amanda and Daniel called “Jetlag” in which we watch their long trip from Europe to this very room where we were all gathered. When they arrived to the space, we said: “And what we want to do now is share a kind of living diary of these three weeks – which includes today. So, make sure you have your belongings. You shouldn’t leave anything in the room.” As they got up to go, we said: “Stop”<br /><br />Instead of the bus ride, we told the story of what was supposed to have happened. To illustrate our points, we introduced Christian and Teresa and the musicians showed up and played. It was a documentary performance of sorts.<br /><br />At the end, we handed everyone a map of the Bus Route and actually drove in cars out to Teresa’s Hut, were food and half the neighbourhood was waiting for us. When we got there, there was a party and a dance performance, which actually ended with the LAST YELLOW BUS RIDE through the neighbourhood “Población Santiago.”<br /><br />There was no problem with Police. They don’t come to that neighbourhood anyway…<br /><br /><strong>PART II / Vienna<br />1st April to 16th May, 2007</strong><br /><br />“3 months ON EARTH”<br /><br />Following is the letter we wrote to the Austrian Ministry of the Interior so that Ramon Villalobos could get permission to have a Party in his garden, in Macondo, a refugee camp on the outskirts of Vienna.<br /><br />Dear Sirs,<br /><br />On Earth, a new piece by the performance company Cabula6, is about traveling and the meeting of different worlds. More specifically, it is a piece about the stories behind traveling: the pathways that each of us take to arrive to this very moment where we are right now. How did I arrive here? How did those surrounding me arrive here? On Earth tries to make the invisible life-stories that have led up to any one moment, visible: revealing the possible connections that bind all of us who share intersecting worlds, together.<br /><br />In Vienna, the piece begins at the studios of Tanzquartier in the 7th district. The audience then travels on a rented Wiener Linien public bus to the 11th district where we arrive at the Kaiser Ebersdorf Barracks, renamed “Macondo” in the 1970s by the refugees that were housed there. The two worlds meet and intermingle in a creative event that the residents of Macondo have been organizing for years as each successive wave of refugees arrived : a party.<br /><br />We draw the comparison between the creative gatherings of Tanzquartier and the creative gatherings of Macondo. Two sub-worlds embedded in the city of Vienna, which provide places for social gathering, cultural interaction, celebration and self knowledge. In what ways is a theater performance really a party – an egalitarian interactive gathering only made possible by everyone who is there at the moment? And in what ways are parties really a kind of group performance in which stories are replayed, relationships reaffirmed, in which there are improvisations with music and dance, stories are told and a creative moment of belonging and expression is provided a diverse group of people. Is it possible for these two worlds, Tanzquartier and Macondo, to learn something from each other? Can they reinvigorate one another? Is it possible for these two worlds to recognize what they may actually have in common?<br /><br />Tanzquartier Vienna and Macondo are directly linked by the family Villalobos. Originally political refugees from Chile in the 1970s, they have lived in Vienna for over thirty years. During this time they have made Macondo their home, and for the past 5 years nearly the entire family has worked at Tanzquartier and Museumsquartier as night watchmen and technicians, behind the scenes for every performance and exhibition presented from the Children’s museum to the Festspiel. The family Villalobos will guide the audience between their two worlds – from the performance of the Tanzquartier studios to the party taking place in their Garden<br />at the other end of town, revealing along the way the tremendous social, cultural and human variety in the city of Vienna.<br /><br /><br />The Bus Ride from Tanzquartier to Macondo<br /><br />From: </span></span></span><a href="mailto:admin@cabula6.com"><span style="color: rgb(153, 153, 153);font-family:georgia;font-size:78%;" >cabula6 </span></a><br /><span style="color: rgb(153, 153, 153);font-family:georgia;font-size:78%;" >Sent: Thursday, April 19, 2007 10:49 PM<br />Subject: On Earth Question...<br /><br />Dear friends and colleagues from all over the world,<br /><br />We have a question for you a little imagination game, perhaps. It is for our new piece, ON EARTH, that will be presented in Vienna on may 15th and 16th.<br />Here's the situation:<br />You begin with a group of 60 audience members who gather in a place called “Tanzquartier Wien.” After a half hour introduction to the project, they the board a public bus (rented) and ride out through the center of Vienna to its outskirts to a place called “Macondo.”<br />We’re not telling you anything else about either Tanzquartier, Macondo or the topic of the piece on purpose because i wanted to ask you, with only this scant amount of information, what could you imagine doing with the audience or having the audience do or not do on this half hour trip from one world through another world to this third world?<br />Let me know if you have too little information, but whatever your instincts tell you would be interesting to hear. It can be as outlandish or as mundane as possible. This doesn't matter. If you need more data, we can tell you more.<br /><br />hugs<br /><br />Jeremy and Claudia<br /><br />Following are some of the responses:<br /><br />I guess I would tell the audience the whole "100 years of solitude" in half an hour. Or divide the 60 up into 6 groups that represent the six generations appearing in the novel ;)<br />hugs,<br />- Martin Nachbar (Berlin)<br /><br />Brive very slowly, leave a trail of breadcrumbs<br />Track their own progress through GPS devices<br />Let them think they are tracking their own progress with GPS devices but have the GPS display the journeys of others get them really drunk<br />- Charles Campbell (Minneapolis)<br /><br />first ideas - pure instinct<br />invisible theatre<br />something "real" that can lead or introduce the audience to the third situation that can be real or surreal...<br />- Ana Trincao (Lisbon)<br /><br />they're going to Garcia Marquez's Macondo, to a jungle in the outskirts of Vienna<br />they will be asked to write a story during the bus ride<br />about what will happen to them, where they are going, what they will find there and upon arrival they will perform their story or read it to the other audience members or tell them what Macondo is for them<br />meaning<br />their connection<br />Vienna's connection<br />physically/geographically and otherwise<br />to this "other" world Macondo represents - call it "3rd world", "magic realism", "world of sensuality/passions/wild imagination", "world of poverty and all of the above", "underdevelopment"', "whatever they aren't", "whatever they are glad they aren't", "whatever they hope never to become", "whatever they feel they are sorely lacking", etc, etc. let THEM define what is Macondo to them and how they connect to it if they do at all (they have to connect in some manner or other - at least in their imagination of what the place/world is like). That is the "bus ride" - that connection<br />- Marcela Goglio (Buenos Aires)<br /><br />DEFINITELY SERVE DRINKS<br />Rob Rahbari (Mumbai)<br /><br />Change clothes. change names. arrive as a different person.<br />- Michael Silverstein (Olymipa WA, USA)<br /><br />have ten families in the destination city open up there homes to six people. A family raconteur tells them a story and the group of six have to refine the story in such a way that one of the six can report it back to the sixty. You will end up with ten stories, one from each group that your company will incorporate into a theatre piece.<br />all love<br />- Scott Cohen (New York)<br /><br />I've imagined to be in the audience, to step on the bus to Macondo it’s a "cosmopolite" audience, and the bus gradually full of different voices and languages, rhythms and words... how pleasant a mere "visualization" can be!!<br />- Irene DiNatalle (Pombino, Italy)<br /><br />play truth truth lie …….tell two truths and one lie, and the rest of the people guess which is the lie<br />- Beverley Britts (Columbia, California – Sierra Nevada Mountains)<br /><br />I imagine getting a bus with curtains and closing the curtains as much as safe. The environment of the bus should be a total emersion experience, cutting off clues to present day. Especially important is smell. Actors in period costumes and animals should recreate the travel experience of the period. They would engage the participants. Actors should speak in a language the participants can't recognise easily. I envision something like a planetarium light display which would create images on the ceiling and walls of the bus. Control the temperature too. No microphone and hide the driver. Definitely no lavatory. Maybe misting water in the bus.<br />- Edy Britts (Nevada City, California)<br /><br />some food. or snowing in the bus. or is that too arty? how about 3 curated acts of random kindness?<br />- Leah Gelpe (Israel)<br /><br /><br /><strong>Post Scriptum:<br /><br />What is this trippy kaleidoscopic experience of being a human on earth?<br />The fractured approximations of intersecting worlds - one cancelling out the next, leaking and bleeding into each other - replace each other one by one and two by two as each suggestion proves more inadequate than the next. What you thought you knew, you clearly don’t. At turns dance party, at turns battle to the death as the hydra headed variations of being alive jockey for place in the contact zone of our making.<br /><br />Why are you you and why am I me?<br /><br />Come and join Cabula6 on earth in this twisted fun-house of shifting settings and frameworks. There’s a DJ. There’s us. There’s you. There are guests and party crashers. There are supernovas and quarks. There’s whatever there is. All in the blink of an eye.<br /><br />This piece is for everyone, even if they don’t know it yet.<br />It’s nothing without you.<br /><br /></strong></span></div><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dwK8VecYHYM2w1Q81lA1XZRJfEVf0BSm5Bbx1BEXV2TQuBhNy7RZjr-Bm-QSmoE8GgTD7sa4QZ4lNKIROpo5w' class='b-hbp-video b-uploaded' frameborder='0'></iframe>Transformahttp://www.blogger.com/profile/11139847328945551611noreply@blogger.com0tag:blogger.com,1999:blog-4488264026585420216.post-39091404864983982542007-11-07T18:22:00.000+00:002008-11-13T22:19:18.266+00:00<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVgjtf0ze0lCJPUUzU6rGuMRvuEPyCKek4FShpBirjdHo0an57-kmVuq_w8pspgxWxjZnr7Is_MmCpMhPfyeWmrnn8P1u7UJtVFb2nSol1cxBP39utQICpvRUPVdiUOdY-bfvBzMyKvFWo/s1600-h/Natascha+Moschini2.jpg"><img id="BLOGGER_PHOTO_ID_5130166878204768882" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 308px; CURSOR: hand; HEIGHT: 228px" height="246" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVgjtf0ze0lCJPUUzU6rGuMRvuEPyCKek4FShpBirjdHo0an57-kmVuq_w8pspgxWxjZnr7Is_MmCpMhPfyeWmrnn8P1u7UJtVFb2nSol1cxBP39utQICpvRUPVdiUOdY-bfvBzMyKvFWo/s320/Natascha+Moschini2.jpg" width="328" border="0" /></a><span style="font-size:78%;"><br /></span><span style="font-family:georgia;"><strong></strong></span><br /><span style="font-family:georgia;"><strong>SOLO</strong> performance<br />A Oportunidade do Espectador_Dogma Project (Hamburgo)<br />NATASCHA MOSCHINI (DE)<br />www.moschini.blogspot.com<br /><span style="font-size:78%;"><br /></span>3 Nov/ 20h20 <span style="color:#999999;">3rd Nov/ 8:20pm - 11pm</span><br /></span><span style="font-family:georgia;"><em>Transforma, Praça do Município – 8, Torres Vedras<br /></em><span style="font-size:78%;"></span></span><br /><br /><br /><span style="font-family:georgia;"><span style="font-size:78%;"><br /><br /></span><span style="font-size:85%;">“Eu, Natasha, estou a criar um solo. Tenho estado ocupada. Mil tentativas, na minha cabeça, todos os dias…A minha pergunta é: Porquê mover-nos? Porquê criar material (movimento)? A cada nova tentativa, surgem novas questões. (E até), me apetece criar movimentos. Mas quando os crio, e lhes dou corpo, muitas vezes eles falham ou morrem.”<br /><br /><strong>Biografia</strong><br /><br />Natascha Moschini, sexo feminino, solteira, 25 anos. Os meus olhos são castanhos e não conheço o meu pai. Nasci em Junho, na Estugarda, Alemanha. Desde então, os morangos fazem parte da minha vida. Queria ser bailarina, por causa de um programa de televisão. Mas não me deixaram porque não correspondia em nada à imagem pretendida. Então, pratiquei Hip Hop durante muitos anos. Depois quis ser artista visual, mas antes disso acontecer, fui bem sucedida numa audição para estudos de dança contemporânea. Então fui viver para a Holanda, e depois para a Bélgica e a França. Falo quatro línguas, mas não na perfeição. Interessam-me as vidas das outras pessoas. Adoro observar e mudar a minha percepção da realidade. A vida é estranha e eu adoro beber cerveja. </span></span><br /></span></span><br /><br /><br /><span style="font-family:georgia;"><span style="font-size:85%;"><span style="color:#999999;">"I, Natascha, am creating a solo. I have been busy. A thousand attempts, in my mind, every day… My question is: Why move? Why creating (movement) material? Every time I try, many questions arise. (And even), I feel like designing movements. But when I create them, and give them space in reality, they often fail and die.”<br /><br /><strong>Biography</strong><br /><br />Natascha Moschini, female, solo, 25 years old. My eyes are brown and I do not know my father. I was born in June, in Stuttgart, Germany. Since then, strawberries are real present in my life. I wanted to be a ballet dancer, because of a television program. But they would not let because I was not fulfilling the image at all. So, I trained Hip Hop for many years. Then I wanted to be a visual artist, but before that could happen, I succeeded in an audition for contemporary dance studies. So I went to live in the Netherlands, after in Belgium and France. I do speak four languages. But not perfect. I am interested in other people’s lives. I love to observe and switch my perception of reality. Life is strange and I love to drink beer.</span><br /><br /></span><br /></span><span style="font-family:georgia;"><span style="font-size:78%;">Primeiro, pediram-me para criar um trabalho para o festival em Ludwigsburg, que tinha como tema “espaço livre”. Depois conheci o Rogério em Hamburgo e ele pediu-me para participar no projecto dele. Para ser prática decidi criar um solo. Mas não sozinha. Decidi criar uma espécie de tarefa, em que pedi 5 horas de trabalho a 5 pessoas conhecidas, no sentido de me ajudarem. A primeira fase tem a ver com espaço.<br /><br /><strong>Primeira Fase</strong><br />Uma tarefa simples: definir um espaço, o seu interior e exterior. Entrar ou sair dele. Documentá-lo com texto, vídeo, fotos, movimento ou outra coisa qualquer. Criar um dossier e enviar-mo. Não gastem mais de 5 horas. Pedi a 5 pessoas para participar: a Sarah, a Magriet, a Magalie, a Isabelle e a Stella. Se no futuro houver oportunidade, quero continuar com este tipo de trabalho de grupo à distância. Depois disso, o Rogério perguntou-me se eu podia criar um blog. Eu criei um, e dei início ao meu trabalho no projecto (</span><span style="font-size:78%;"><a href="http://www.moschini-blogspot.com/">http://www.moschini-blogspot.com/</a></span></span><span style="font-size:78%;"><span style="font-family:georgia;">). Eu documentei as mil tentativas que me passaram pela cabeça. Não todas, apenas algumas, enquanto esperava os resultados da tarefa que atribuíra às 5 pessoas a quem pedi para me ajudarem. Não estava a criar de uma maneira usual. A única coisa que fiz foi escrever e esperar que algo surgisse. E assim se sucederam a segunda e terceira fases.<br /><br /><strong>Segunda Fase</strong><br />A documentação da criação do solo, com todas as suas incapacidades. Ser honesta em relação a ela. Tentar não ser melhor e precipitar as coisas.<br /><br /></span><span style="font-family:georgia;"><strong>Terceira Fase<br /></strong>Abrir o processo às pessoas. Portanto, se quiserem participar de alguma forma, façam-no por favor, são bem-vindos!<br /></span><span style="font-family:georgia;"><strong><br />Para terminar:</strong><br />Todos estes desenvolvimentos do projecto e respectivos materiais estão disponíveis no meu blog. Gostava de ser mais precisa, mas o processo é lento e ainda uma grande confusão. Ainda não tenho uma perspectiva global das coisas. Até agora só recebi um único resultado das pessoas a quem pedi para me ajudar. E existem apenas algumas reacções no meu blog e ao meu processo. E ainda estou agarrada às tais mil tentativas todos os dias. Não é uma pena, é a realidade.<br /><br /><strong>Concepção & interpretação:</strong> Natascha Moschini<br /><strong>Co-produção:</strong> Tanz und Theaterwerkstatt (Ludwigsburg)<br /><strong>Apoio:</strong> Performing Arts Forum<br /><strong>Agradecimentos:</strong> Irma Beyer, Adler Restaurant, Jan Ritsema, Nicole Liszta<br /><br /></span><span style="color:#999999;"><span style="font-family:georgia;">First, I was asked to create a piece for a festival in Ludwigsburg, which has the motto „free space“. Then I met Rogério in Hamburg and he asked me to participate in his project. To be practical I decided to create a solo. But not on my own. So I developed a kind of task, where I asked 5 hours of working time from 5 people I know to help me. The first layer concerns space.<br /><br /><strong>First Layer</strong><br />A simple task: define a space, its inside and outside. Enter or exit it. Document it with text, video, photos, movement or something else. Provide a dossier and send it back to me. Do not use more than 5 hours. I asked 5 people to participate. It is Sarah, Magriet, Magalie, Isabelle and Stella. If there is time in future, I want to continue on this way of working together within distance. After that, Rogério was asking me if I could open a blog. I created one, and my personal work on the project has started (www.moschini-blogspot.com). I documented the thousand attempts in my mind. Not all, just a few, while waiting for the answer of the 5 people I asked to help me. I was not creating in a common way. The only thing I did was writing and waiting for something to develop. So the second and third layer happened to be.<br /><br /><strong>Second Layer</strong><br />The documentation of creating a solo, with all its incapability. Being honest with it. Try not to be better and push things forward.<br /><br /><strong>Third Layer</strong></span></span></span><a name="BLOGGER_PHOTO_ID_5117883595964006722"></a><a name="BLOGGER_PHOTO_ID_5117882230164406562"></a><a name="BLOGGER_PHOTO_ID_5117882479272509746"></a><br /><span style="font-family:georgia;font-size:78%;color:#999999;">Open the process to people. So, if you want to take part in any way, please do, you are welcome!<br /><br /><strong>Finally to say:</strong><br />All these developments and materials can be seen at my blog. I wish I could be more precise, but the development is slow and still a big mess. I have no overview yet. Until now there is one answer from the people I asked to help me. And there are just a few reactions on my blog and process. And I am still stuck with the thousand attempts every day. This is not a pity, it is reality.<br /><br /><strong>Conception and interpretation:</strong> Natascha Moschini<br /><strong>Co-production:</strong> Tanz und Theaterwerkstatt (Ludwigsburg)<br /><strong>Support:</strong> Performing Arts Forum<br /><strong>Special Thanks to:</strong> Irma Beyer, Adler Restaurant, Jan Ritsema, Nicole Liszta</span><br /><br /><br /><p><strong>Fotos <span style="color:#999999;">Photos</span>:</strong> </p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFp_92E3MqpiochmI0W69Qgrjj1RDTDIzPXGTv_GgJcHBpdSdSl7zRpWnJi_FTaZVh1kGEFRpOdF7sXKLd2nh5HPCmKTHo6W4m2ulIKFzsljMF7R6UZpI99unmNs_798Qhbzct-A2X1FYW/s1600-h/DSC00063.JPG"><img id="BLOGGER_PHOTO_ID_5135274666844054098" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFp_92E3MqpiochmI0W69Qgrjj1RDTDIzPXGTv_GgJcHBpdSdSl7zRpWnJi_FTaZVh1kGEFRpOdF7sXKLd2nh5HPCmKTHo6W4m2ulIKFzsljMF7R6UZpI99unmNs_798Qhbzct-A2X1FYW/s200/DSC00063.JPG" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK7bGOp0acnu5KwTS77XP8dUnG7xkTYwBfrS0-XbCzPI2Skt0H5oD33j7xVwtNM8LM5FVYrqoKrfQv5wa9AfQ-zb1yVdHPtr672MF1sLSe5M_xAa1H-s9iPXAS3fIIHv_OHb_wwJJZh5aK/s1600-h/IMG_3161.JPG"><img id="BLOGGER_PHOTO_ID_5134996649316016178" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK7bGOp0acnu5KwTS77XP8dUnG7xkTYwBfrS0-XbCzPI2Skt0H5oD33j7xVwtNM8LM5FVYrqoKrfQv5wa9AfQ-zb1yVdHPtr672MF1sLSe5M_xAa1H-s9iPXAS3fIIHv_OHb_wwJJZh5aK/s200/IMG_3161.JPG" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrg7q3p_bGWvM540fpSmpnblxBXbJVCKVjVm9og-JBNyzDZfQeloBdvMieqEHqU83VWy9kNlBM_66epGMyePdSkG-8yjTf4s5jcYVrEGi6BfPB88QEpIaPGUwrFTWKanxzllP6bDVL6Iim/s1600-h/PICT8751.JPG"><img id="BLOGGER_PHOTO_ID_5134996468927389730" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrg7q3p_bGWvM540fpSmpnblxBXbJVCKVjVm9og-JBNyzDZfQeloBdvMieqEHqU83VWy9kNlBM_66epGMyePdSkG-8yjTf4s5jcYVrEGi6BfPB88QEpIaPGUwrFTWKanxzllP6bDVL6Iim/s200/PICT8751.JPG" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAa7ijSEnb4Co_MTdpFf9b2Ejpkk82UKsKZ7c1dUoOw7JHY78Mpx-n2KkXwjXsizRPCR6FPh_cHlNrb9ZhrpGWBwz75BpP3eX2qeUyZA7HbttwNA8sO4lnzvSZdk2vAgmIiloLjhLhK5EY/s1600-h/IMG_3165.JPG"><img id="BLOGGER_PHOTO_ID_5134996808229806146" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAa7ijSEnb4Co_MTdpFf9b2Ejpkk82UKsKZ7c1dUoOw7JHY78Mpx-n2KkXwjXsizRPCR6FPh_cHlNrb9ZhrpGWBwz75BpP3eX2qeUyZA7HbttwNA8sO4lnzvSZdk2vAgmIiloLjhLhK5EY/s200/IMG_3165.JPG" border="0" /></a>Transformahttp://www.blogger.com/profile/11139847328945551611noreply@blogger.com0tag:blogger.com,1999:blog-4488264026585420216.post-59354782021857711292007-11-07T17:51:00.000+00:002008-11-13T22:19:19.432+00:00<div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6MUDPre2Z-Z0daV-6jTkFYzLH10WVNaAtklQDZDf4n5vWvYsYvd8izEioZuAYB-oV3M4nyWXdzcP8xaiOWQWd1AAD9890vnofiGlOzmpjCEEvjWz5IFWloWhkkFhhVOlmql_4qihyphenhyphenzubi/s1600-h/Joana+Campos+Silva2.jpg"><img id="BLOGGER_PHOTO_ID_5130164692066415202" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6MUDPre2Z-Z0daV-6jTkFYzLH10WVNaAtklQDZDf4n5vWvYsYvd8izEioZuAYB-oV3M4nyWXdzcP8xaiOWQWd1AAD9890vnofiGlOzmpjCEEvjWz5IFWloWhkkFhhVOlmql_4qihyphenhyphenzubi/s320/Joana+Campos+Silva2.jpg" border="0" /></a><br /><br /><br /><span style="font-family:georgia;font-size:85%;"><span style="font-size:100%;"><strong>PERFORMAR-ME A TI</strong></span> performance<br />A Oportunidade do Espectador_Dogma Project (Porto)<br />JOANA CAMPOS SILVA (PT)<br /></span><span style="font-family:georgia;font-size:85%;">http://www.fugaemmim.blogspot.com</span><br /><span style="font-family:georgia;"><span style="font-size:85%;"><br />3 Nov/ 19h40<span style="color:#999999;">3rd Nov/ 7:40pm<br /></span><em>Transforma, Praça do Município – 8, Torres Vedras<br /><br /></em><strong>Roger diz:</strong> Já estou em casa. Não pude fazer mais nada… Eu só estive na Transforma até às 17h. Workshop em Almada até agora. <strong>Joana diz:</strong> E se não houver piano, posso ir aí sem apresentação? <strong>Roger diz:</strong> Claro que podes vir. Eu quero muito que venhas. Mas porque é que não hás-de apresentar nada? <strong>Joana diz: </strong>Porque não há condições para apresentar o que quero. <strong>Roger diz:</strong> Joana, eu vou ter que me repetir novamente: o trabalho com o “Dogma” implica isso mesmo. Que nenhuma catástrofe, por mais estúpida que seja, invalide que "te apresentes". Eu percebo perfeitamente a postura dos teus amigos. Mas eles recusarem-se a vir (que eu aceito, a culpa não é necessariamente deles) é completamente anti-“Dogma”. Eu não "comprei" o teu projecto; eu convidei-te a apresentares o teu projecto de acordo com as regras do “Dogma”. Os teus amigos não têm culpa, mas isto que está a acontecer é sintomático de uma coisa: eles não estavam preparados para trabalhar com o “Dogma”. <strong>Joana diz:</strong> Não é o “Dogma”. Temos de ser realistas. Ontem tínhamos tudo. Esta semana não temos nada. Há um compromisso! <strong>Roger diz:</strong> Isso não é verdade. Só não tens o piano. Tudo o resto tens. <strong>Joana diz:</strong> Sim, mas sem piano, não faz sentido tar lá o Zé. <strong>Roger diz:</strong> Trabalhar nesse sentido, em que o projecto depende de coisas como um piano e não de uma ideia, não é “Dogma”, lamento. Tenho mesmo que reforçar este aspecto. É a única coisa que posso fazer neste momento em relação ao projecto, para o proteger e para te proteger a ti também. <strong>Joana diz: </strong>O meu projecto não depende de um piano... Depende do meu espectador, que por sua vez depende de um piano. É diferente. <strong>Roger diz:</strong> Continuo a dizer-te que não há nada que, no contexto do “Dogma”, justifique uma desistência. A menos que seja falta de compreensão do próprio “Dogma”, mas isso é outra conversa... Porque nesse aspecto tivemos imensas discussões: tu fizeste o workshop, eu ajudei-te na tua performance de Maio... <strong>Joana diz:</strong> Eu vou. Eles não vão. Tenho um compromisso com eles que foi quebrado. Isso preocupa-me. <strong>Roger diz:</strong> Estabeleceste com eles um mau compromisso, em termos meramente dogmáticos. Eu alertei-te para esse facto há muito tempo. Tu nunca poderias ter trabalhado com eles nessa perspectiva. Não estou a pôr em causa as tuas ideias; não te convidei para este projecto por acaso...<strong>Joana diz:</strong> Até posso ter alguma culpa, mas a culpa maior está na organização... Nunca se avisa na véspera que não há material. Não se anda aqui a brincar. Estão pessoas e palavras em jogo. <strong>Roger diz:</strong> Não estás a ser justa, lamento. Se eu te tivesse dito há duas semanas atrás, teria acontecido a mesma coisa. Os teus amigos teriam dito que não queriam fazer sem piano. E mais duas semanas a procurar pianos não garantiriam que ele aparecesse... A organização fez o que pôde, mas não há dinheiro para alugar pianos. É simplesmente impossível. Tinhas que estar preparada para ultrapassar situações como esta... <strong>Joana diz:</strong> Eu consigo moldar-me. Agora, moldar-me e pedir a mais duas pessoas que se moldem... É muito difícil. <strong>Roger diz:</strong> Mas aí é que está o problema, Joana. As duas pessoas que convidaste deviam estar preparadas para se moldarem desde o início! E não estavam. Por isso não podes culpar a organização. Mais: de acordo com o “Dogma”, eles deviam até estar preparados para acharem piada a este sucedido, e não o olharem como um entrave. Todo o “Dogma” reforça o valor do contexto. É o contexto que dá forma aos projectos, e não o contrário. Trabalhámos tanto isto Joana! <strong>Joana diz:</strong> Fui eu que falhei. <strong>Roger diz: </strong>Sim, mas não tens que te sentir mal com isso. Vens e trabalhas com isso. Porque eu não assumo isso com falhanço. Não há falhanços nem sucessos no “Dogma”. Tu tens uma coisa fantástica contigo, que eu admiro, que é a tua capacidade de te moveres e de te empenhares muito nas coisas. Isso é realmente louvável. Mas o “Dogma” pede-te justamente para não tentares ser "melhor". Lembras-te do "O melhor não é necessariamente bom"? É isso. <strong>Joana diz:</strong> Vou fazer uma performance que nada tem a ver com aquilo que ando à procura? Eu ando a trabalhar com duas pessoas que fazem a minha cena funcionar. <strong>Roger diz:</strong> O que andas à procura precisa de um piano? Ou o que andas à procura precisa de ti e das tuas ideias? Não posso admitir que dependas de outras pessoas e de tecnologias para fazer valer o teu trabalho. É que não posso admitir mesmo. Por muito que as pessoas sejam brilhantes e por muito que a tecnologia seja fantástica. <strong>Joana diz:</strong> Vou falar com eles e digo: foi muito bom enquanto durou, mas dia 3 vou apresentar outra coisa. Não é justo! <strong>Roger diz:</strong> Mas tu não vais apresentar "outra coisa". Não percebo essa separação. No dia 3 vais contar a história do processo, que é o que é justo, para ti e para o “Dogma”. Trata-se de uma questão de "justiça performativa". E o projecto segue. <strong>Joana diz:</strong> Ainda por cima está escrito: piano Renato, electrónica Zé. Quando as pessoas lá forem, só vão ver corpo. <strong>Roger diz:</strong> Isso não me preocupa nem um bocadinho. Tu chegas e dizes porque é que aquelas pessoas não estão ali. <strong>Joana diz:</strong> Isso és tu que tens estofo. Eu não tenho estofo, nem sou artista. <strong>Roger diz:</strong> Tu não estarás ali sozinha! Estão mais 5 pessoas a trabalhar o mesmo “Dogma”. <strong>Joana diz:</strong> Vou publicar esta conversa. <strong>Roger diz:</strong> Claro que vais. Bem-vinda de volta ao “Dogma”. <strong>Joana diz:</strong> Vou falar com eles. <strong>Roger diz: </strong>Era bom um dia falarmos todos com calma sobre estas questões. Tenho a sensação muito nítida que eles não têm noção do que significa trabalhar com o “Dogma”. Nem têm que ter! Eles podem nem estar interessados, o que me parece legítimo. Mas se calhar era bom falar-se de tudo direitinho... <strong>Joana diz:</strong> É óbvio que quero continuar com este projecto. Roger diz: Não esperava outra coisa de ti.<br /><em>[ conversa mantida via MSN,na noite de 30 de Outubro de 2007 ]</em><br /><br /><strong>Performance:</strong> Joana Campos Silva<br /><strong>Agradecimentos:</strong> Renato Diz, José Alberto Gomes<br /><br /><strong><span style="font-size:100%;">Biografia</span><br /></strong><br />Joana Campos Silva foi a última designação que dei ao meu nome artístico, porque pelos vistos precisava de um que soasse a "artístico". Nasci a 16 de Abril de 1986, em Vila Nova de Gaia e ao que parece tinha 2,5 quilos e cabia numa caixa de sapatos. Sou descendente de família angolana, mas se me virem, nada tenho a ver com Angola, a não ser a minha forma de ser e o modo como me "balanço" na dança. Desde que me conheço, fui sempre ligada às artes, chegando ao cúmulo de desenhar na casa-de-banho. A necessidade de desenhar foi sempre muita, mas o que mais precisei foi de ser diferente. Os meus pais deram-me a oportunidade de estudar na Escola Artística Soares dos Reis, no Porto. Entre cursos e cursinhos, liguei-me bastante à pintura e à animação. Mas como sou apaixonada por muitos tipos de arte, a produção de eventos passou a ser o caminho a seguir. Por esse motivo, candidatei-me ao curso de Som e Imagem na Universidade Católica Portuguesa, que é o que actualmente frequento. Desde que entrei para a faculdade, a minha vida mudou radicalmente. O primeiro ano levou-me para o mundo do design, que resultou num 1.º prémio com a criação de um logótipo para um congresso diocesano. O segundo ano levou-me para o mundo da fotografia. E o terceiro ano para o mundo da performance. Ou seja, abandonei por completo a ideia de ser produtora de moda e abracei estas áreas. Porém, a que mais se evidencia é a fotografia, através de exposições e concursos. A exposição mais recente foi feita na arte na leira e intitulei a obra de "tacto", resultante de uma paixão pictórica pelas nuvens e o modo como o céu se compõe. Julgo que por todas as áreas que vá percorrendo, a fotografia nunca me vai abandonar, é quase como uma necessidade de haver registo "em tempo real", porque a minha vida é uma performance, eu ando sempre à procura da resposta certa, para o momento certo. E a máquina fotográfica é o auxílio exemplar para essa procura.» </span></span><br /><div><div><br /><p><span style="font-family:georgia;"><span style="font-size:85%;"><span style="color:#999999;"><strong>Roger says:</strong> I’m already home. There was nothing else I could do…I just stayed at Transforma utill 17h. Workshop in Almada up till now. <strong>Joana says:</strong> And if there’s no piano, can I go there without making a presentation? <strong>Roger says:</strong> Of course you can. I want you to come very much. But why shouldn’t you present something? <strong>Joana says:</strong> Because there are no conditions to present what I want. <strong>Roger says: </strong>Joana, I will have to repeat myself again: the work with “Dogma” implies all that. No catastrophe, even a very stupid one, should stop you from “present yourself”. I understand perfectly your friends’ attitude. But the fact that they refuse to come (which I accept, it’s not necessarily their fault) is completely anti-“Dogma”. I didn’t “buy” your project; I invited you to present it according to the “Dogma” rules. It’s not your friends’ fault, but what is happening means something: they weren’t prepared to work with “Dogma”. <strong>Joana says: </strong>It’s not about “Dogma”. We have to be realistic. Yesterday we had all. This week we have nothing. There’s a compromise! <strong>Roger says:</strong> That isn’t true. You just don’t have the piano. You have all the rest. <strong>Joana says:</strong> But without piano, there’s no sense having Zé there. <strong>Roger says:</strong> To work in that way, in which the project depends on things like a piano e not on an idea, isn’t “Dogma”, I’m sorry. I do have to stress this aspect. It’s the only thing that I can do at the moment about the project, to protect it and to protect you. <strong>Joana says:</strong> My project doesn’t depend on a piano…Depends on my spectator, which depends on a piano. It’s different. <strong>Roger says:</strong> I keep on saying that there’s nothing, within the context of “Dogma”, that justifies a withdrawal. Unless there’s no understanding of “Dogma” itself, but that’s another story…We had a lot of discussions on that: you made the workshop, I helped you on you performance in May… <strong>Joana says:</strong> I go. They don’t go. I have a compromise with them that was broken. That worries me. <strong>Roger says:</strong> You made a bad compromise with them, in merely dogmatic terms. I warned you about it a long time ago. You could have never worked with them on that perspective. I do not doubt of your ideas; I didn’t invite you by chance… <strong>Joana says:</strong> Maybe it’s my fault also, but the association has most of the fault… you don’t tell people in the day before that there’s no material. This is serious. We’re talking about people and words. <strong>Roger says:</strong> Sorry, you’re being unfair. If I had told you two weeks ago, it would have happened the same. Your friends would have told you that they wouldn’t do it without the piano. And two more weeks looking for a piano doesn’t mean we would found one… The association did what was possible to do, but there’s no money to rent a piano. It’s impossible. You should be prepared to overcome this kind of situation…<strong>Joana says:</strong> I can adjust myself. But, to adjust myself and ask two other people to do it…It’s very hard. <strong>Roger says:</strong> But the problem is right there, Joana. The two people you invited should be prepared to adjust right from the beginning! And they weren’t. So, you can’t blame the association. Plus: according to “Dogma”, they should be prepared to laugh of it, and not to look at it as an obstacle. All “Dogma” stresses the importance of context. It’s the context that shapes the projects, and not way round. We worked so much on this Joana! <strong>Joana says:</strong> I was the one who failed. <strong>Roger says: </strong>Yes, but you don’t have to feel bad about it. Come and work with that. Because I don’t see it as a failure. There’s no failures or sucesses in “Dogma”. You have a wonderful thing, which I admire, it’s your ability to move and to engage. That is really praiseworthy. But the “Dogma” asks you precisely to not to try to be the “best”. Do you remember of “The best is not necessarily good”? That’s it. <strong>Joana says:</strong> I’m going to do a performance that has nothing to do with what I’m looking for? I’ve been working with two people that make things work. <strong>Roger says: </strong>What you are looking for needs a piano? Or what you are looking for needs you and your ideas? I can’t admit that you depend on other people and technologies to make your work worthy. Even though people are brilliant and the technology fantastic, I really can’t admit that. <strong>Joana says:</strong> I’m going to speak with them and say: it was good while it lasted, but on 3rd November I’m going to present something else. It’s not fair?! <strong>Roger says: </strong>but you are not going to present “something else”. I don’t understand that division. On the 3rd you’re going to tell the story of the process, that’s what’s fair, to you and to “Dogma”. It’s a question of “performative justice”. And the project continues. Joana says: But is written: piano Renato, electronics Zé. People will only see the body. <strong>Roger says: </strong>That doesn’t worries me at all. You come and say why those people aren’t there. <strong>Joana says:</strong> You have the guts to do it. I don’t, I’m not even an artist. <strong>Roger says:</strong> You won’t be alone! Other 5 people are working the same “Dogma”. <strong>Joana says:</strong> I’m going to publish this conversation. <strong>Roger says:</strong> Of course you will. Welcome back to “Dogma”. <strong>Joana says:</strong> I’m going to speak with them. <strong>Roger says:</strong> one of these days we should all talk quietly about these questions. I have the feeling that they don’t know what means to work with the “Dogma”. And they don’t have to! They might not even care, what seems legitimate. But maybe it was good to set things right…<strong>Joana says:</strong> It’s obvious that I want to continue this project. <strong>Roger says: </strong>I wasn’t expecting other thing from you.<br /><em>[conversation via MSN, on the night of 30 October 2007 ]</em></span></span></span><br /><br /><span style="font-family:georgia;"><span style="font-size:85%;"><span style="color:#999999;"><strong>Performance:</strong> Joana Campos Silva<br /><strong>Special Thanks to:</strong> Renato Diz, José Alberto Gomes<br /><br /><strong><span style="font-size:100%;">Biography</span></strong><br /><br />Joana Campos Silva was the last designation that I gave to my artistic name, because it seems that needed one that sounded "artistic ". I was born on April 16, 1986, in Vila Nova de Gaia and it seems that I had 2,5 kilos and that I fitted in a box of shoes. I am descended from an Angolan family, but if you look at me, I have nothing to do with Angola; except for my of being and the way I "swing" in dance. Since I know myself, I’ve always been connected to arts; my highest point was to draw in the bathroom. I always had this need to draw, but what I really needed was to be different. My parents gave me the chance to study at Escola Artística Soares dos Reis, in Porto. Among many courses, painting and animation were the things that I most liked. But since I love many kinds of art, event production started to be the way to follow. For that reason I applied for the Sound and Image course at Universidade Católica Portuguesa, and that’s what I’m doing now. Since I got into faculty, my life changed radically. The first year took me into the world of design, and the creation of a logo to a diocesan congress made me won a 1st prize. The second year took me into the world of photography. And the third year took me into the world of performance. I mean, I completely abandoned the idea of being a fashion producer and embraced these areas. However, photography is the most evident one, through exhibitions and contests. The most recent exhibition was made on arte na leira and the work was called "tacto", being the result of this pictorial passion for clouds and for the way the sky forms itself. Even if I work in all these areas, photography is the one that will always be present, it’s almost like a need to have a “real time” record, because my life is a performance, I’m always looking for the right answer, to the right moment. And the camera is the best thing to help me on that search.”</span></span><span style="color:#999999;"> </span></span></p><br /><p><span style="color:#999999;"></span></p><br /><p><span style="color:#999999;"><strong><span style="color:#000000;">Fotos</span> Photos:</strong></span></p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLXsujmYkH2C8MEdS1TJAMHnZeX09kXs38wLpKkXe_NNK1gp6HqBjjpOn2QoQKWBtQNva_6w0ChRg2-5LGi6t8214kuNHP6fKaVWpuHRX7YEC9u8QGEGRYhb2KiTc1yqBNxdE5lbXOrjfh/s1600-h/IMG_3155.JPG"><img id="BLOGGER_PHOTO_ID_5135276565219598946" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLXsujmYkH2C8MEdS1TJAMHnZeX09kXs38wLpKkXe_NNK1gp6HqBjjpOn2QoQKWBtQNva_6w0ChRg2-5LGi6t8214kuNHP6fKaVWpuHRX7YEC9u8QGEGRYhb2KiTc1yqBNxdE5lbXOrjfh/s200/IMG_3155.JPG" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKloOl7gCdsCfyMmBPF1DKHMRVAZSY1hJGQr8Z-vhzIW2AIgR7lha9TOyxRLcqbph5bbPxr16OFTsxmWmbWmm0r43yYvVlECABAFB5AUkR5VV4UEgchz1kyrdxno1wGR_i6Yq0N5pKQvo7/s1600-h/IMG_3153.JPG"><img id="BLOGGER_PHOTO_ID_5134998908468813906" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKloOl7gCdsCfyMmBPF1DKHMRVAZSY1hJGQr8Z-vhzIW2AIgR7lha9TOyxRLcqbph5bbPxr16OFTsxmWmbWmm0r43yYvVlECABAFB5AUkR5VV4UEgchz1kyrdxno1wGR_i6Yq0N5pKQvo7/s200/IMG_3153.JPG" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhp6oLpa4sZaEasRtHKq-xcktEGUWsAvC3DBFRQrA0W9Pi-xw6M9OOgeD5S324fJMfGa2eLb3xdB5ijWcXaCqGen7DhqLRYWNYTFv06GYHOKDb_wIFc74FJuZa6s3521zDgZvwvrftNI7zs/s1600-h/IMG_3147.JPG"></a> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiA9OxEa80QC-FMH322Ug9axZRMDRYqG8SfHofwvW0uxmP31hWdbzcs10Dn8gi_BvlsZVQ80qMU_G-lxXREcZiMOxBl6Qi4VuZaTXS7cN6yStdXTIA0FuX4Kgt033ewsH5KS1EWqL_9xLH/s1600-h/PICT8765.JPG"><img id="BLOGGER_PHOTO_ID_5135254789735407858" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiA9OxEa80QC-FMH322Ug9axZRMDRYqG8SfHofwvW0uxmP31hWdbzcs10Dn8gi_BvlsZVQ80qMU_G-lxXREcZiMOxBl6Qi4VuZaTXS7cN6yStdXTIA0FuX4Kgt033ewsH5KS1EWqL_9xLH/s200/PICT8765.JPG" border="0" /></a><br /><br /><br /><br /><p></p></div></div></div>Transformahttp://www.blogger.com/profile/11139847328945551611noreply@blogger.com0tag:blogger.com,1999:blog-4488264026585420216.post-19645872952041455762007-11-07T17:38:00.000+00:002008-11-13T22:19:21.445+00:00<div><div><div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNlccjqjKjLNW_-d3xZQ8QXuG_s3H4U1VW_PyYSP-hkkKNsZTsz-UjGJNbCBVjjBU-cAUCpnrU4K42OGPJhhLvmN_IdB6M-gLinpJHl9h_Ant3LZsVrjbN292y9x-dk0Gaw09cEVVpR29W/s1600-h/Dinis+Machado2.JPG"><span style="font-family:georgia;"><img id="BLOGGER_PHOTO_ID_5130155539491107378" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 224px; CURSOR: hand; HEIGHT: 313px" height="320" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNlccjqjKjLNW_-d3xZQ8QXuG_s3H4U1VW_PyYSP-hkkKNsZTsz-UjGJNbCBVjjBU-cAUCpnrU4K42OGPJhhLvmN_IdB6M-gLinpJHl9h_Ant3LZsVrjbN292y9x-dk0Gaw09cEVVpR29W/s320/Dinis+Machado2.JPG" width="231" border="0" /></span></a><br /><br /><br /><br /><br /><br /><span style="font-size:85%;"><span style="font-family:georgia;"><strong><span style="font-size:100%;">APRESENTAÇÃO</span></strong> </span></span><br /><span style="font-size:85%;"><span style="font-family:georgia;">intervenção terrorista </span><span style="font-family:georgia;"><span style="color:#999999;">terrorist intervention<br /></span>A Oportunidade do Espectador_Dogma Project (Porto)<br />DINIS MACHADO (PT)<br />www.oportunidadedinis.blogspot.com<br /></span><span style="font-size:78%;"><br /></span><span style="font-family:georgia;">3 Nov/ 19h00 </span><span style="font-family:georgia;color:#999999;">3rd Nov/ 7pm<br /></span><em><span style="font-family:georgia;">Transforma, Praça do Município – 8, Torres Vedras<br /></span></em></span><div><div><div><div><br /><span style="font-family:georgia;">É permitido sair da sala. É permitido ficar e não gostar. É permitido perturbar o espectáculo. Porque o espectador tem o direito de mudar o rumo da coisa. E eu também. Esta performance é parte do projecto geral “dinisma@gmail.com”.<br /></span><span style="font-size:78%;"><br /></span><span style="font-family:georgia;"><strong>Concepção e interpretação:</strong> Dinis Machado<br /><strong>Agradecimentos:</strong> Paula, André, Guilherme, Pedro, Cão Solteiro<br /><br /></span><span style="font-family:georgia;"><strong><span style="font-size:100%;">Biografia</span><br /></strong><br />Nasce no Porto em 1987. Em 94 vê um espectáculo. Gosta. Quer fazer também. Estuda dança contemporânea e teatro no Balleteatro a partir de 95. Em 97 faz o espectáculo “Screen” com o Balleteatro Companhia, encenação de Isabel Barros. Entre 2002 e 2005 faz o curso de formação de actores na Academia Contemporânea do Espectáculo. Muda-se para Lisboa em 2005. Estuda Teatro na Escola Superior de Teatro e Cinema e faz workshops com Rogério Nuno Costa e com o Teatro Praga. Trabalha com o Cão Solteiro Teatro. Criou o espectáculo “Ponto de fuga” em 2006. Gosta mais de museus do que de teatros. Não difere teatro e dança. Não fora a areia gostaria de praia. Gostava de morar em Londres. </span><br /><br /></span></span><span style="font-size:85%;"><span style="font-family:georgia;"><span style="color:#999999;">It is allowed to leave the room. It is allowed to stay and not to like. It is allowed to disturb the show. Because the spectator has the right to change the route of the thing. And so do I. This performance is part of the project "dinisma@gmail.com".<br /><br /><strong>Conception and Interpretation:</strong> Dinis Machado<br /><strong>Special Thanks to:</strong> Paula, André, Guilherme, Pedro, Cão Solteiro<br /><br /><strong><span style="font-size:100%;">Biography</span></strong><br /><br />He was born in Porto, in 1987. In 1994 he sees a show. He likes it. He wants to do also. In 1995 he starts studying contemporary dance and theatre at Balleteatro. In 1997 he does the show “Screen” with Balleteatro Companhia, directed by Isabel Barros. From 2002 to 2005 he does the Actor’s Formation course at Academia Contemporânea do Espectáculo. In 2005 he moves into Lisbon. He studies Theatre at Escola Superior de Teatro e Cinema and does workshops with Rogério Nuno Costa and Teatro Praga. He works with Cão Solteiro Teatro. In 2006 he created the show “Ponto de fuga”. He prefers museums to theaters. He doesn’t see a difference between theatre and dance. If it wasn’t for the sand he would like to go to the beach. He would like to live in London.<br /></span><br /><br /></span></span><span style="font-family:georgia;font-size:78%;">“dinisma@gmail.com”(</span><a href="http://www.oportunidadedinis.blogspot.com/"><span style="font-family:georgia;font-size:78%;">www.oportunidadedinis.blogspot.com</span></a><span style="font-size:78%;"><span style="font-family:georgia;">):<br />“Informam-se todos os leitores que este blog não é:<br /><br />1. O programa ou a folha de sala de um objecto artístico;<br />2. A documentação do processo de construção de um objecto artístico;<br />3. Uma ferramenta de aproximação de um objecto artístico ao seu público.<br /><br />ESTE BLOG É A "COISA”. Ou melhor, este blog é tudo o que em cima foi enumerado, e isso é a "coisa". Podem e vão acontecer acções performativas derivadas deste objecto central, mas serão sempre isso, partes de um objecto maior. Ou seja, nunca serão:<br /><br />1. O resultado de...<br />2. A demonstração de...<br />3. A aplicação de...<br /><br />Serão sempre mais uma peça para a construção deste objecto, ou seja, o sentido é sempre construir pequenos núcleos que, no seu conjunto, formam este projecto, e nunca reunir material para fazer a performance. Nesse sentido, todas as acções performativas com público são filmadas e publicadas na íntegra, e são independentes, assim como todos os outros posts.”<br /><br />Este é o projecto que desenvolvo dentro da “Oportunidade do Espectador”, a convite de Rogério Nuno Costa. Tem como elemento condicionante central o “Dogma 2005”, que agora ocupa o papel de curador, conferindo violentamente a sua aplicação. O meu projecto surge na minha relação com a escola, a de agora e todas as outras. Proponho-me pensar a escola, o aluno, o professor, o teatro, a dança, a performance, a cultura, os públicos... Proponho-me pensar-me a minha relação com a arte, a que faço e a que procuro, e como procuro, e o que encontro, e como o que encontro modifica o que faço, e como o que faço me faz continuar a procurar. Em entrevista a Guilherme Ferreira, antropólogo, Rogério diz:<br />“No corpo humano, deve haver um órgão qualquer que representa aquilo que eu sou, que é quase como se fosse... Já sei! A língua!... Repara: na medicina tradicional chinesa, eles conseguem ver, através da língua, o estado do teu corpo todo; conseguem ver como é que está o teu coração, o teu fígado, o teu estômago, as tuas costas... Acho que o meu trabalho pode muito bem ser a língua das artes performativas em Portugal... (risos).”<br /><br />Eu gostava que o meu projecto fosse a língua do meu trabalho enquanto artista.<br />Alguns dias depois da abertura oficial da “Oportunidade do Espectador”, o Rogério pediu-me uma biografia para pôr no blog do “Vou A Tua Casa”. Aquilo que faz parte do meu currículo habitual, e que me define para o leitor, deve ser o que menos reflecte aquilo que penso. Resolvi reformulá-la. Irei, assim, apresentar a minha biografia, de forma claramente não objectiva, porque é essa a que melhor me define. Como diria Wittgenstein, “eu sou o meu mundo”. Prometo não usar metáforas, nem ser muito demorado. Não há aqui lugar para muitas interpretações, tudo será explicativo e demonstrativo. Na verdade, isto podia ser um livro. Dos chatos, é claro! Talvez um manifesto: daquilo que decidi que fui, que sou e que quero ser. A par, é claro, daquilo que não quero ter sido, que não quero ser, e que não serei. Porque se trata da minha vida, afinal, e reservo-me o direito de decidir acerca do meu futuro, presente, e passado. Tudo aqui é verdadeiro. Tudo aqui é escolhido. Vale tudo, menos mentir.<br /><br />Baseado em factos verídicos<br /><br />“Whatever happened to Leon Trotsky? He got an ice pick that made his ears burn. Whatever happened to dear old Lenny? The great Elmyra, and Sancho Panza? Whatever happened to the heroes? Whatever happened to the heroes? Whatever happened to all the heroes? All the Shakespearoes? They watched their Rome burn. Whatever happened to the heroes? [The Stranglers]<br /><br /><br /><span style="color:#999999;">“dinisma@gmail.com”(</span></span></span><a href="http://www.oportunidadedinis.blogspot.com/"><span style="font-family:georgia;font-size:78%;color:#999999;">www.oportunidadedinis.blogspot.com</span></a><span style="font-family:georgia;font-size:78%;color:#999999;">):<br />We inform all readers that this blog isn’t:<br /><br />1. The program or the leaflet of an artistic object;<br />2. The documentation of the construction process of an artistic object;<br />3. A tool that can be used to bring the artistic object closer to its audience.<br /><br />THIS BLOG IS THE "THING". Better, this blog is everything which was enumerated above, and that is the "thing". Performative actions, deriving from this central object, can and will happen, but they will always be parts of a bigger object. This means, they will never be:<br /><br />1. The result of…<br />2. The demonstration of…<br />3. The aplication of<br /><br />They will always be another part to be used in the construction of this object. This means that the idea is to construct always small nucleus that, together, form this project, and to never gather material to do the performance. In this sense, all the performative actions with audience are filmed and published in full, and are independent, as well as all the other posts."<br /><br />This is the project that I develop inside of the " Oportunidade do Espectador ", at the invitation of Rogério Nuno Costa. It has as central conditioning element the "Dogma 2005", now working as a curator, violently demanding its execution. My project is based on my relation with the school where I am now and all the others. I intend to think about the school, the student, the teacher, the theatre, the dance, the performance, the culture, the audiences... I intend to think about my relation with art, the one I do and the one that I search for, and how I search, and what I find, and how what I find changes what I do, and how what I do makes me keep on searching. In an interview with Guillermo Blacksmith, anthropologist, Rogério says:<br /><br />"It must exist in the human body an organ that represents what I am, almost as if it was... That’s it! The tongue... You see, in Chinese traditional medicine, they can see, through your tongue, how your whole body is functioning; they can see how is your heart, your liver, your stomach, your back... I think that my work might be the tongue of performative arts in Portugal... (laughs)."<br /><br />I would like my project to be the tongue of my work as an artist.<br /><br />A few days after the official opening of the "Oportunidade do Espectador ", Rogério asked me a biography to put in the blog “Vou a Tua Casa". My CV must be the thing that least expresses what I think. I decided to rewrite it. This way, I will present my biography, without being objective, because that’s the one which defines me better. As Wittgenstein would say, "I am my world". I promise not to use metaphors, or take too much of your time. There’s no place for too many interpretations here, everything will be clarifying and demonstrative. Actually, this could be a book. A book of boring people, of course! Perhaps a manifesto: of what I decided that I was, that I am and that I want to be. Along with what I do not want to have been, what I do not want to be, and what I won’t be. Because it’s about my personal life, after all, and I reserve the right to decide my future, present, and past. Everything is true here. Everything is chosen here. Everything is worth, except lying.<br /><br />Based on true facts<br /><br />“Whatever happened to Leon Trotsky? He got an ice pick that made his ears burn. Whatever happened to dear old Lenny? The great Elmyra, and Sancho Panza? Whatever happened to the heroes? Whatever happened to the heroes? Whatever happened to all the heroes? All the Shakespearoes? They watched their Rome burn. Whatever happened to the heroes? [The Stranglers]</span></div></div><div><br /><br /><div><span style="font-size:78%;color:#999999;"><strong><span style="font-size:100%;"><span style="color:#000000;">Fotos</span> Photos:</span></strong> </span></div><br /><div><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7x2gzYb_Q2mS5WGREh51Ocv6zoRkHuzo8My7wlg9PLYyoQB8g2q6hSZSo3xjrHb7pv70OpiPqbJ0qXnOXi4yZsEncTEDMm1MogspvY6EVpIkADvkcbr4GcgIOdT_cC17g7XzoEWa5Ecjf/s1600-h/DSC00075.JPG"><img id="BLOGGER_PHOTO_ID_5135273399828701762" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7x2gzYb_Q2mS5WGREh51Ocv6zoRkHuzo8My7wlg9PLYyoQB8g2q6hSZSo3xjrHb7pv70OpiPqbJ0qXnOXi4yZsEncTEDMm1MogspvY6EVpIkADvkcbr4GcgIOdT_cC17g7XzoEWa5Ecjf/s200/DSC00075.JPG" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHNklVpu4J-BL-eFRPQC86ASlorwxsB21Ki6opFeR7nQOja1ZzAkg9tfk2jkfoo9qf0IstCYOFbRz21FON7D-3DWEuiI_QsAjZulwtbrKNtUt2Z3wm0D0q4Nj1VVCmr05igt0pAJB8sPYW/s1600-h/DSC00069.JPG"><img id="BLOGGER_PHOTO_ID_5135272858662822434" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHNklVpu4J-BL-eFRPQC86ASlorwxsB21Ki6opFeR7nQOja1ZzAkg9tfk2jkfoo9qf0IstCYOFbRz21FON7D-3DWEuiI_QsAjZulwtbrKNtUt2Z3wm0D0q4Nj1VVCmr05igt0pAJB8sPYW/s200/DSC00069.JPG" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2-eAZ1UVzYmh49bARCg4LiuGgP8mm1dtr4a_dHNqNiUdiQbEP8k9RhwG0-DQaWtk1njpQre2igsnFA2DUJhyphenhyphenVfTTM2aIl-_NiF1-xeFHMQKZQlXE7m9-7CiLmFoSBM9xtiQ3sd_leIkWc/s1600-h/DSC00067.JPG"><img id="BLOGGER_PHOTO_ID_5135272639619490322" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2-eAZ1UVzYmh49bARCg4LiuGgP8mm1dtr4a_dHNqNiUdiQbEP8k9RhwG0-DQaWtk1njpQre2igsnFA2DUJhyphenhyphenVfTTM2aIl-_NiF1-xeFHMQKZQlXE7m9-7CiLmFoSBM9xtiQ3sd_leIkWc/s200/DSC00067.JPG" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz8HwfZTYfispWPNOqpriIxGW-PBjdk3c88fn1lrNODspt-5OCHK5ux3KjSN_7wa_V4tVPspwTEglCNaUzd5sS44S_RfcwmBGZyhEOf0TknCX0H69s-sWj5Lmy39L9Ri5hEgWlm57G7gS2/s1600-h/IMG_3147.JPG"><img id="BLOGGER_PHOTO_ID_5134994196889690130" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz8HwfZTYfispWPNOqpriIxGW-PBjdk3c88fn1lrNODspt-5OCHK5ux3KjSN_7wa_V4tVPspwTEglCNaUzd5sS44S_RfcwmBGZyhEOf0TknCX0H69s-sWj5Lmy39L9Ri5hEgWlm57G7gS2/s200/IMG_3147.JPG" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbN8tt-Q1e5pGyKT7LAp5XDROoM2SQSkqObZGQjXAf-Ri43EsqVzMFpu3MBhTrYXcFL2-ayBFmnEvFl2lxSFroJvZDpVhpkosxHKP6r1Q85_qiSEVmdgromqVV5s_-d-DbUsukZT-RKDLe/s1600-h/DSC00073.JPG"><img id="BLOGGER_PHOTO_ID_5135273090591056434" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbN8tt-Q1e5pGyKT7LAp5XDROoM2SQSkqObZGQjXAf-Ri43EsqVzMFpu3MBhTrYXcFL2-ayBFmnEvFl2lxSFroJvZDpVhpkosxHKP6r1Q85_qiSEVmdgromqVV5s_-d-DbUsukZT-RKDLe/s200/DSC00073.JPG" border="0" /></a></div><div> </div><div> </div><div> </div><div> </div><div> </div><div> </div><div> </div><div> </div><div><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGPwy9Le-cLtjAQ8O2BLCztSW376XaPaBI6q7X_su0k0q3hY-uLMzDNkaBZBURl0qeleBSfOfA9loktiP06Bb5eNlor7lC2pLhwJTE7NQdxKoeqhKRB-8eBLHMwvanozqKm1i_64E3jMJu/s1600-h/IMG_3144.JPG"><img id="BLOGGER_PHOTO_ID_5134994050860802050" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGPwy9Le-cLtjAQ8O2BLCztSW376XaPaBI6q7X_su0k0q3hY-uLMzDNkaBZBURl0qeleBSfOfA9loktiP06Bb5eNlor7lC2pLhwJTE7NQdxKoeqhKRB-8eBLHMwvanozqKm1i_64E3jMJu/s200/IMG_3144.JPG" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbb_mL2CJ5SVRrdfZHlkPsLg-iXzleQ8zg1yc1F0pcW6Dmg1InPvNjPwqButE0SEWJP5BdlFxgTqiLH3XkXyVdrVUEUV8-HrUW3FEio1egHV9fgfjDgh9Qdq65ByoboEmMK3qwz1eKdXna/s1600-h/IMG_3143.JPG"><img id="BLOGGER_PHOTO_ID_5134993475335184370" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbb_mL2CJ5SVRrdfZHlkPsLg-iXzleQ8zg1yc1F0pcW6Dmg1InPvNjPwqButE0SEWJP5BdlFxgTqiLH3XkXyVdrVUEUV8-HrUW3FEio1egHV9fgfjDgh9Qdq65ByoboEmMK3qwz1eKdXna/s200/IMG_3143.JPG" border="0" /></a><br /><br /></div><br /><br /><br /><br /><div><span style="font-size:78%;color:#999999;"></span></div><br /><br /><br /><br /></div></div></div></div></div></div></div>Transformahttp://www.blogger.com/profile/11139847328945551611noreply@blogger.com0tag:blogger.com,1999:blog-4488264026585420216.post-86810823920512035832007-11-07T17:27:00.000+00:002008-11-13T22:19:24.103+00:00<div><div><div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilpZhGQ0HwFzbzIE7rq1VmmuEdW3Deham0IDRLXvSWvj3p5jOKWfol5P4_soXyLtFR5EtD3C47jE4yPglMR9g6YFP4Tb0rtGpl4erLNRCSHBnoyICxeaacoikYXG40_Sb-KiODXyj4NzZA/s1600-h/Joana+Vaz2.JPG"><img id="BLOGGER_PHOTO_ID_5130153331877917218" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilpZhGQ0HwFzbzIE7rq1VmmuEdW3Deham0IDRLXvSWvj3p5jOKWfol5P4_soXyLtFR5EtD3C47jE4yPglMR9g6YFP4Tb0rtGpl4erLNRCSHBnoyICxeaacoikYXG40_Sb-KiODXyj4NzZA/s320/Joana+Vaz2.JPG" border="0" /></a><br /><span style="font-family:georgia;font-size:85%;"><strong><span style="font-size:100%;">Movimento FUCK QUARTA PAREDE</span></strong> apresentação publicitária <span style="color:#999999;">publicitary presentation</span><br />A Oportunidade do Espectador_Dogma Project </span><br /><span style="font-family:georgia;font-size:85%;">(Caldas da Rainha)<br />JOANA VAZ (PT)<br />www.fuckquartaparede.blogspot.com<br /><span style="font-size:78%;"><br /></span>2, 3 Nov/ 18:30h, 19h <span style="color:#999999;">2nd, 3rd Nov/ 6:30pm, 7pm<br /></span><em>Transforma, Praça do Município - 8, Torres Vedras<br /></em></span><span style="font-family:georgia;font-size:85%;"><br /><br /></span><span style="font-family:georgia;font-size:85%;"></span><span style="font-family:georgia;font-size:85%;"></span><br /><span style="font-family:georgia;font-size:85%;">Eu, Joana Vaz, tinha um projecto. Vivo numa altura em que o teatro não se apresenta como reflexo de vida. Enquanto muitos o procuram em cada espectáculo, em cada cena, acção ou linha pronunciada nesse mesmo espectáculo. Constato: a 4ª parede parte da construção do próprio espectáculo, e todas elas diferem tecnicamente da construção desse mesmo. Facto: a 4ªparede é um conceito abstracto. Contudo, esta (4ª parede) adquire um formato diferente a cada olhar particular que a contém. Constato: o único reflexo realista que o espectáculo contém em si mesmo é essa 4ª parede que se vai materializando ou desvanecendo mediante o espectador. Eu, Joana Vaz, tenho um projecto.<br /><br /><strong>Concepção e apresentação:</strong> Joana Vaz<br /><strong>Documentação:</strong> Gonçalo Martins, Tânia Raposo<br /><strong>Agradecimentos:</strong> Luís Morcela, Renata Pinho, Diana Policarpo<br /><br /><strong><span style="font-size:100%;">Biografia<br /></span></strong><br />Joana Alexandra Vaz Gonçalves de baptismo, Joana Vaz de artístico, e sou da vila da Lousã. Quando tinha 5 anos queria ser bióloga e nadar com os golfinhos; aos 8 anos queria ser pianista, mas ainda queria nadar com os golfinhos; ao perfazer 12 anos descobri que existiam mamíferos maiores, e decidi nadar com orcas. Aos 16 anos, queria cantar, mas a minha voz era interior; estudando a área científica, descubro a beleza da ebulição, e das partículas químicas; então decido ir cantar para as orcas e encontrar-me na beleza da química. Como não encontrei orcas na serra da Lousã cantei para mim, e para amigos, e decidi estudar a minha voz que cantava, e o jazz que a acompanhava. A química não se encontrava no jazz, então decido que vou nadar para a música, mas a música não me deu livre passe para me banhar. Aos 23 decido encontrar a minha voz na Escola Superior de Artes e Design das Caldas da Rainha, e nadar com o teatro. Encontrei a voz, dei umas braçadas no teatro, e deparei-me com uma actriz durante a cantoria e as braçadas. Aos 25 decidi que queria nadar, queria cantar, voar, criar. Aos 26, decido que sou criadora, performer, e que vou voar para Berlim.<br /><br /><br /><span style="color:#999999;">I, Joana Vaz, had a project. I live in a moment where theatre doesn’t present itself as a reflection of life. And many look for it in every show, in every scene, action or part of that same show. I verify: the 4th wall has its origin in the construction of the show itself, and all differ technically from the construction of that same show. Fact: the 4th wall is an abstract concept. However, it (4th wall) gets a different format each time someone looks at it. I verify: the only realistic reflection of the show is that same 4th wall, which materializes or vanishes depending on the spectator. I, Joana Vaz, have a project.<br /><br /><strong>Conception and Presentation:</strong> Joana Vaz<br /><strong>Documentation:</strong> Gonçalo Martins, Tânia Raposo<br /><strong>Special Thanks to:</strong> Luís Morcela, Renata Pinho, Diana Policarpo<br /><br /></span><span style="color:#999999;"><strong><span style="font-size:100%;">Biography</span><br /></strong><br />Joana Alexandra Vaz Gonçalves is my birth name, Joana Vaz the artistic one. I’m from Lousã. When I was 5 I wanted to be a biologist and swim with the dolphins; when I was 8 I wanted to be a pianist, but I still wanted to swim with the dolphins; when I was 12 I found out that there are bigger mammals, and I decided to swim with orcas. When I was 16 I wanted to sing, but my voice was an inner voice; while studying the scientific area, I discovered the beauty of ebullition and of chemical particles; then I decided to sing to orcas and find myself in the beauty of chemistry. Since I didn’t find orcas in Serra da Lousã I sang to myself, and to friends, and decided to study my voice, the one that sang, and the jazz in it. There was no chemistry in the jazz, so I decided to swim to music, but music didn’t give me a free pass to dive in. When I was 23 I decided to find my voice at Escola Superior de Artes e Design das Caldas da Rainha and to swim with the theatre. I found the voice, I swam in theatre, and while doing all of this I found an actress. When I was 25 I decided that I wanted to swim, to sing, fly, create. Today I’m 26, I decide that I am a creative, performer, and that I’m flying to Berlin.</span></span><br /><div><div><div><div><br /><br /><br /><div><span style="font-size:85%;color:#999999;"><span style="font-size:100%;"><strong><span style="color:#000000;">Fotos </span>Photos:</strong></span> </span></div><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg86LhnrjiqwRQgF_c1QCvRjG3Vl63LB5a63hXrhZEgNfIbJPuvjki-pRIs0ZrCQfpBJv5WgNtjwavzUUmnnoWKF3y8Al7btX4UbkKGqi0q_rtuTNUYdO_M5IT_nJjz8O8w5maVJWpU5xjp/s1600-h/IMG_3138.JPG"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6_8z4bLA3hQVSULsdRaBYlsrh4hGxsOnP00uPh8wMmEQbsystYizZV2r8pSB_mB5lweBUNvWiz9KroQKxNSjJL2OpBg_aIFOtI78UOAMimCCOmEClLHMegbZ51s8W_qZ5hxQieSU0i04d/s1600-h/IMG_3171.JPG"><img id="BLOGGER_PHOTO_ID_5135255906426904834" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6_8z4bLA3hQVSULsdRaBYlsrh4hGxsOnP00uPh8wMmEQbsystYizZV2r8pSB_mB5lweBUNvWiz9KroQKxNSjJL2OpBg_aIFOtI78UOAMimCCOmEClLHMegbZ51s8W_qZ5hxQieSU0i04d/s200/IMG_3171.JPG" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBRUrDdDYRksqAGVaK7tZse405VUlmfV9HENESnH8GO6WQHu45iI8F3F0mJGNsfTq0Me8uSZLUSLNxdRHq5bw3JLFWdmobRqb2NKSM7WMNH2-EbPI4ZB6QlzqLyS1mi912V5LUJvgqBoiY/s1600-h/PICT8666.JPG"><img id="BLOGGER_PHOTO_ID_5135249167623217330" style="FLOAT: left; 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MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZf4DUOrEYez-6KUXOznj4hNfF8A978OSwf52km_V55QXoUhF3JPHufDO2pJnLiAASjo8cOIr4wla5FPq4dfqfMKFDp3AGrNmnzaK0olR27bhjCcWuD7bbuYp_thhIDFVM3xJbzNL90Vwn/s200/DSC00008.JPG" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAifPhvWhxYe0r_FLi_emoPdmarZD_rQ1aAiBd2VtQKiBe0cDAeyNDk_on35N2VXcIw0XL-oyW2SfBoP-V8_p09qjUcQoYY1-_TJ3KaW6EuIODUeEW_pWPlQ2_zISMz_f4SDKYhMfwZTiM/s1600-h/DSC00058.JPG"><img id="BLOGGER_PHOTO_ID_5135268202918273458" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAifPhvWhxYe0r_FLi_emoPdmarZD_rQ1aAiBd2VtQKiBe0cDAeyNDk_on35N2VXcIw0XL-oyW2SfBoP-V8_p09qjUcQoYY1-_TJ3KaW6EuIODUeEW_pWPlQ2_zISMz_f4SDKYhMfwZTiM/s200/DSC00058.JPG" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAtROpKG43-2qC2MombJ4fbFcUAvK3kE51BZVwZjkM6SuPVO1XGDjh2ZsYt32Q4JRbEQmp7fLFUhw_8gXtCRTQfv3qn0-VohI1vR4mWP54QmPII2XBshJ561GekxDTZpBP9aidtbDYz6oZ/s1600-h/DSC00013.JPG"><img id="BLOGGER_PHOTO_ID_5135268464911278530" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAtROpKG43-2qC2MombJ4fbFcUAvK3kE51BZVwZjkM6SuPVO1XGDjh2ZsYt32Q4JRbEQmp7fLFUhw_8gXtCRTQfv3qn0-VohI1vR4mWP54QmPII2XBshJ561GekxDTZpBP9aidtbDYz6oZ/s200/DSC00013.JPG" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPlcoi_gUXg_mCtibUEdQG96_PSac2S_swA8nz-qn5ULw0z1PxZ5zW6oITniCYAqyxGUXlOpceS-IeNcLIElN5JjQrbKbUWlf7xHzWBZvZV2g0yrr38wo8YRxBna-tJfYG27D4Dk0FnxRi/s1600-h/DSC00006.JPG"><img id="BLOGGER_PHOTO_ID_5135269688976957906" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPlcoi_gUXg_mCtibUEdQG96_PSac2S_swA8nz-qn5ULw0z1PxZ5zW6oITniCYAqyxGUXlOpceS-IeNcLIElN5JjQrbKbUWlf7xHzWBZvZV2g0yrr38wo8YRxBna-tJfYG27D4Dk0FnxRi/s200/DSC00006.JPG" border="0" /></a> <div><span style="font-size:85%;color:#999999;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAYONIhyphenhyphenWRLK3ZdCHX0jBot8v_lMamF041TbNDyhJzG6uMxyA1RTk7BuLBDB6-OMlil8Pf1yeJnXaJk0GhtDrG8D_yC-5w3NbqCuhW8_wCchTu-BxhWFH7GM-0U6y3H7b2bBsbAIxEvf1Y/s1600-h/IMG_3138.JPG"><img id="BLOGGER_PHOTO_ID_5135256262909190418" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAYONIhyphenhyphenWRLK3ZdCHX0jBot8v_lMamF041TbNDyhJzG6uMxyA1RTk7BuLBDB6-OMlil8Pf1yeJnXaJk0GhtDrG8D_yC-5w3NbqCuhW8_wCchTu-BxhWFH7GM-0U6y3H7b2bBsbAIxEvf1Y/s200/IMG_3138.JPG" border="0" /></a></span></div></div></div></div></div></div></div></div></div>Transformahttp://www.blogger.com/profile/11139847328945551611noreply@blogger.com0tag:blogger.com,1999:blog-4488264026585420216.post-65498490179359966062007-11-07T17:10:00.000+00:002008-11-13T22:19:29.463+00:00<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4krkNzJAW1iwXjjMWk-vZo8tKSdOxb5G0tnY7gj5ODHcwU0dAMk-cbdu0vQTm0jGRjWgnAjz3XFg_L2YTMlSf_S1wcDG_oH6fbbFqyKsHEVeEf1J-UxYMewtY59rWu53VctcYo_8stkev/s1600-h/Artur+Félix3.gif"><img id="BLOGGER_PHOTO_ID_5130847908012868818" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 334px; CURSOR: hand; HEIGHT: 220px" height="200" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4krkNzJAW1iwXjjMWk-vZo8tKSdOxb5G0tnY7gj5ODHcwU0dAMk-cbdu0vQTm0jGRjWgnAjz3XFg_L2YTMlSf_S1wcDG_oH6fbbFqyKsHEVeEf1J-UxYMewtY59rWu53VctcYo_8stkev/s320/Artur+F%C3%A9lix3.gif" width="320" border="0" /></a> <span style="font-family:georgia;font-size:85%;"><strong><span style="font-size:100%;">LIFE PROJECT</span></strong> instalação <span style="color:#999999;">installation</span><br />A Oportunidade do Espectador_Dogma Project (Lisboa)<br />ARTUR FÉLIX (PT)<br />www.lifeprojectjournal.blogspot.com</span><br /><span style="font-family:georgia;font-size:85%;"><span style="font-size:78%;"><br /></span>2 Nov/ 18h30 - 21h00 abertura </span><br /><span style="font-family:georgia;font-size:85%;"><span style="color:#999999;">2nd Nov/ 6:30pm - 9pm/ opening<br /></span>3 Nov/ 14h30 - 19h00/ exposição </span><br /><span style="font-family:georgia;font-size:85%;"><span style="color:#999999;">3rd Nov/ 14:30pm - 7pm/ exhibition<br /></span>4 - 17 Nov/ Seg - Sáb/ 10h - 19h00/ exposição </span><br /><span style="font-family:georgia;font-size:85%;"><span style="color:#999999;">4th - 17th Nov/ Mon - Sat/ 10am - 7pm/ exhibition</span><br /><em>Transforma, Praça do Município – 8, Torres Vedras</em><br /><br />Começo por registar a saída da casa que partilhámos. Fotografo metodicamente todo o processo, os objectos, o antes e o depois, as malas, as caixas, o que se vê da janela, a mudança, a viagem, as minhas coisas na garagem da minha mãe. E escrevo, muito. Este registo tornou a situação mais real. Porque me exponho? A origem está na ruptura de uma relação. O que me levou à exposição foi uma falha na comunicação. Falo da ruptura com muitas pessoas mas não falo com quem a provocou. Percebo que estou a ritualizar uma situação à qual não consigo reagir. Para não paralisar, tento rodear-me de amigos, invento rotinas, faço e publico. Tento perceber o que faço e porquê. Vou perguntando e obtenho mais perguntas que me fazem perceber algumas coisas. Percebo que em miúdo queria ser um artista (4 anos, confirmado pela minha mãe). Percebo que a relação que tinha preenchia isso. Projectei-me no outro. O outro fazia por mim e o pouco que eu fazia era para o outro. Não tendo onde me projectar, decido fazer e expor. Empenho-me e quando termino (?) fico realizado. Sinto-me melhor ou, pelo menos, vivo. A ter um objectivo, será sentir-me vivo, sentir-me melhor. Vou publicando num blog que já tinha e, a partir de um dado momento, pareceu-me fazer sentido mudar-lhe o nome. Decido começar um novo. Começo a procurar coisas que tinha feito, tento organizar-me. Assumo que sou um autor a expor. Uma espécie de tentativa, em parte por me sentir perdido vocacionalmente, em parte por sugestão de várias pessoas. Escrevo e faço coisas que para além de pessoais expõem a privacidade de outros. Tenho pudor e selecciono o que publico. Há portanto consciência que outros, e em particular quem causou a ruptura, possam ver o que publico, pinto e colo nas paredes da rua. Exponho-me para mim, para os meus amigos, para quem não conheço e para o outro. Esta exposição é uma tentativa de comunicação. Pergunto quem sou, peço ajuda e compreensão, ou piedade. Mostro a todos que sou igual a todos. E tento ter uma conversa com o outro. E, quando termino este texto, percebo que o meu primeiro objectivo é terapêutico. Faz-me bem fazer. Também foi objectivo não deixar morrer o amor, agora é ultrapassá-lo.<br /><br /><strong>Concepção e apresentação:</strong> Artur Félix<br /><br /><strong><span style="font-size:100%;">Biografia</span><br /></strong><br />Pergunta: Este e-mail é genérico, mas se o recebeste é porque de alguma forma és importante para mim. Encontro-me num processo complicado de crescimento (penso que se chama vida), e quero a tua participação activa. Gostaria de te colocar uma questão: Quem sou? / O que pensas de mim? / Como me definirias? Podes responder ou não. Podes enviar-me uma palavra, um texto, teu, de outro... Podes fazer um desenho ou recortar uma revista. Um bordado, um bolo... usar a liberdade. Se responderes ao meu desafio, quando me enviares o resultado por favor envia também o teu nome completo, data de nascimento, formação, ocupação e resposta à pergunta: "Quando eras pequeno/a, o que querias ser?" Obrigado. Artur Félix da Cruz<br /><br />Resposta: És o Artur, tens 30 e não sei quantos (poucos) anos, estudas Arquitectura (vais agora recomeçar) e trabalhas (ou trabalhaste, ou queres trabalhar) na área do Design. Viste o meu espectáculo 'Lado C' em Junho de 2006 e foi aí que eu te conheci. A ti e ao [...], que era na altura o teu namorado. Depois fomos falando no messenger. E fomos criando uma intimidade virtual que na realidade (leia-se: presencialmente) julgo não existir. Mas se calhar é mesmo assim que tem que ser. Depois deixaste de ser namorado do [...] e comunicaste-mo via messenger. E eu achei que nunca ninguém tinha sido tão honestamente frágil comigo. Fiquei preocupado e achei que devia fazer alguma coisa. Depois tu decidiste fazer o meu workshop. Eu gostei do que tu fizeste e convidei-te para o projecto. Acho que és um pensador. [...]<br /><br />[...] Penso que és um rapaz demasiado sensível e tens uma idade mental bastante inferior à idade biológica. Não te vou dizer quantos anos exactamente; tu ainda levas como insulto. [...] Para além disso, acho que escondes demasiadas coisas (boas ou más), não sei se por timidez (é o que se costuma dizer de pessoas como tu, mas eu não queria ser "banal"), ou então se por culpa do tal excesso de sensibilidade. Seja o que for, o que acontece é que ficas sempre com uma aura considerável de mistério à tua volta. Mas não te preocupes, isso até abona a teu favor. Acho que és bonito.<br /><br />Hoje, no Royale, estavas incrivelmente frágil, quase tanto como no dia em que me disseste via messenger que já não eras namorado do [...]. Talvez seja essa a tua principal característica. És aquele rapaz que perante situações adversas fica do tamanho de um palmo. E porque escondes mais do que aquilo que mostras, fazes de conta que não estás a ouvir duas versões diferentes do "Ne Me Quittes Pas", na mesma tarde, no mesmo bar.<br /><br /><br /><span style="color:#999999;">I start by writing down the doorway of the house we shared. I methodically photograph the whole process, the objects, the before and the after, the suitcases, the boxes, what you see from the window, the move, the trip, my stuff on my mother’s garage. And I write a lot. Writing this down made it more real. Why do I exhibit myself? Because a relationship was broken. What led me to exhibition was a communication flaw. I talk about this broken relationship with many people except with the one who broke it. I understand that I am ritualizing a situation to which I can’t react. I do my best to be surrounded by friends, I make up routines, I do and I publish, trying not to paralyse. I try to understand what I do and why. I keep on asking and I get more questions that help me understand some things. I understand that when I was a kid I wanted to be an artist (when I was 4, my mother said). I understand that the relationship I had filled it. I projected myself on the other. The other did everything I was supposed to do and the small things I did where for him. Now that I have nobody to project myself on, I decide to do and exhibit. I engage myself and when I finish (?) I feel fulfilled. I feel better or, at least, alive. Having a goal makes me feel alive, makes me feel better. I publish a blog that I already had and, at a given moment, it made sense to me to change its name. I decide to start again. I start to look for things that I had already done, I try to organise myself. I assume that I am an author exhibiting. It’s a kind of an attempt, in a way because I feel vocationally lost, in other way because many people suggested it. I write and I do things that not only are personal but also expose the other’s privacy. I’m shy and I chose what I publish. I am aware that others, and particularly the one who broke things up, may see what I publish, paint and stick over the walls on the street. I exhibit myself to me, to my friends, to the ones I don’t know and to the other. This exhibition is an attempt to communicate. I ask who I am, I ask for help and understanding, or mercy. I show to everybody that we are equals. I try to talk with the other. And, when I finish writing this text, I understand that my main goal is therapeutic. It does me well to do. Another goal was not letting love die, but overcome it.<br /><br /><strong>Conception and Presentation:</strong> Artur Félix<br /><br /></span><span style="color:#999999;"><strong><span style="font-size:100%;">Biography</span><br /></strong><br />Question: this is a generic e-mail, but if you got it it’s because somehow you are important to me. I’m in the middle of a complex growing up process (I think it’s called life), and I want your active participation. I would like to ask you something: Who am I? / What do you think about me? / How would you define me? You can answer or not. You can send me a word, a text, yours or from another person… You can draw or clip something out of a magazine. A embroidery, a cake…use your freedom. If you accept my challenge, send me your complete name, date of birth, qualifications, job and the answer to the question “When you were little, what did you want to be when you grew up?”, along with the final result. Thank you.<br />Artur Félix da Cruz<br /><br />Answer: You are Arthur, you are 30 something, you study Architecture (you are going to start again) and you work (or worked, or want to work) in the area of Design. You saw my show ‘Lado C’ in June 2006 and that was when I met you. You and [...], who was your boyfriend at the time. From that moment on we started talking via messenger. We created a kind of virtual intimacy, that doesn’t really (I mean: effectively) exist. But maybe that’s the way things should be. Then, you stopped being [...] boyfriend and you said it to me via messenger. And I thought that no one had ever been so honestly fragile with me. I was worried and I thought that I should do something. Then, you decided to do my workshop. I liked what you did and invited you to participate in the project. I think you are a thinker.[...]<br /><br />[...] I think that you are a too sensitive boy and your mental age is inferior to your biological one. I won’t say how old exactly; you would probably take it as an insult. [...] Besides, I think you hide too many things (good and bad), and I don’t know if it’s because your shy (It’s what we normally say about people like you, but I didn’t want to be so ‘trivial’) or if it’s because you are too sensitive. Whatever it may be, the point is there’s always an aura of mystery around you. But don’t worry, that’s good. I think you are pretty.<br /><br />Today, at Royale, you were incredibly fragile, almost like the day you told me via messenger that you weren’t [...] boyfriend any more. Maybe that’s your main characteristic. You are that kind of boy that before adverse situations shrinks to the size of a hand. And, because you hide more than what you show, you pretend not to listen two different versions of "Ne Me Quittes Pas", that same afternoon, in the same bar. </span></span><br /><br /><br /><br /><span style="font-size:85%;color:#999999;"><strong><span style="font-size:100%;"><span style="color:#000000;">Fotos</span> Photos:</span></strong> </span><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFzWxIidUdqEWbBtp1lFgY-mglDzL0dpUn_UJ28qgMlE4CcyIKSJBxgiwnH-lgP9t5C0GFXnvfGOqniWwh3pkZ8o4IUlfRctBhloO0FENUIeZXIHe36aaDOdBfM0IKRekPG59BhUJDkBp3/s1600-h/PICT8704.JPG"><img id="BLOGGER_PHOTO_ID_5134987045769142194" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFzWxIidUdqEWbBtp1lFgY-mglDzL0dpUn_UJ28qgMlE4CcyIKSJBxgiwnH-lgP9t5C0GFXnvfGOqniWwh3pkZ8o4IUlfRctBhloO0FENUIeZXIHe36aaDOdBfM0IKRekPG59BhUJDkBp3/s200/PICT8704.JPG" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfBZlfDF3ZfTDcug-pc1SY6V7HdSnGEBoZopH1-cbZyR2Z2dmY2i18OSb06N-7PJy4URrDowMkd4ec29g0VmUbb4L67SiKkLgEC2soPd1ev1GoD1_jtXDSJZpy6Q8S6GT2eEBwd10Yp_Qq/s1600-h/IMG_3088.JPG"><img id="BLOGGER_PHOTO_ID_5134985194638237458" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfBZlfDF3ZfTDcug-pc1SY6V7HdSnGEBoZopH1-cbZyR2Z2dmY2i18OSb06N-7PJy4URrDowMkd4ec29g0VmUbb4L67SiKkLgEC2soPd1ev1GoD1_jtXDSJZpy6Q8S6GT2eEBwd10Yp_Qq/s200/IMG_3088.JPG" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwR3XzYZ0veZaxMIsbsh7pcfcJB1chYgkaYIjt5TViiPFTVjt8WMCW4oWdw8932QSEEObUr8k-UV1r2M7lKuL8koC0krW-B5kzITqrV1_5PIaE9fJ14_o6swosL8Qi17fvnZ7GGWQ75gjm/s1600-h/IMG_3119.JPG"><img id="BLOGGER_PHOTO_ID_5134985336372158242" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwR3XzYZ0veZaxMIsbsh7pcfcJB1chYgkaYIjt5TViiPFTVjt8WMCW4oWdw8932QSEEObUr8k-UV1r2M7lKuL8koC0krW-B5kzITqrV1_5PIaE9fJ14_o6swosL8Qi17fvnZ7GGWQ75gjm/s200/IMG_3119.JPG" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgySYRaULAQEjPHwWAi7lUw9UDWVizvzwaX1JsecFJpEbjMEZ35UmwoaLNq6qxAGPIv5yjgEVPbABmOyvD_2sjZPOosqLbO35Xg8UNihmRJt-x0rVmGXZICrHrv7e2Sf-AAqeqH1-VG0NCJ/s1600-h/PICT8612.JPG"><img id="BLOGGER_PHOTO_ID_5134985495285948210" style="FLOAT: left; 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MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgweVKNARbJZgesbjLUmSU61S-wZQq294Qt6nGb09RrncUwDzNIbzK02419IJXNyc_Aepu33kCupPBqvYgqUT-JJRfAl9eAfM0MukhyGG57QxNusJBQsgI8TaNP6KhEsc-WTwd7dU2yj_Yu/s200/PICT8661.JPG" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFvlaRl62J_HxXOqSS52kdZ46GAT20_GBOVNsixAUsZprSpdMuBo7DfQd_Wn8sQebFUzmM4Ia-u0KXVFC5JK201f0I88WmTHyj50q_0wsEk4pcKX2xP1GEGRLMiIu4XvyL35eFjP-ce5CP/s1600-h/PICT8651.JPG"><img id="BLOGGER_PHOTO_ID_5135250365919092962" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFvlaRl62J_HxXOqSS52kdZ46GAT20_GBOVNsixAUsZprSpdMuBo7DfQd_Wn8sQebFUzmM4Ia-u0KXVFC5JK201f0I88WmTHyj50q_0wsEk4pcKX2xP1GEGRLMiIu4XvyL35eFjP-ce5CP/s200/PICT8651.JPG" border="0" /></a>Transformahttp://www.blogger.com/profile/11139847328945551611noreply@blogger.com0tag:blogger.com,1999:blog-4488264026585420216.post-55571220906956448342007-11-07T16:53:00.000+00:002008-11-13T22:19:32.144+00:00<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG4J8HhWwmd8-s5j3gJ4xUu8Tq1LDzdww75YlZqdeAxBos9T-9hHVQODuFPxMhnAxYxGBoO3sQswQtIO5i_XXgKjAVlx6EYK4UwB3bxfaCBiB3fmCkOBZ6ekDiMcPsA_lxkECkkQeAbd_2/s1600-h/Cristiana+Rocha2.jpg"><img id="BLOGGER_PHOTO_ID_5130145076950774194" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 365px; CURSOR: hand; HEIGHT: 265px" height="265" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG4J8HhWwmd8-s5j3gJ4xUu8Tq1LDzdww75YlZqdeAxBos9T-9hHVQODuFPxMhnAxYxGBoO3sQswQtIO5i_XXgKjAVlx6EYK4UwB3bxfaCBiB3fmCkOBZ6ekDiMcPsA_lxkECkkQeAbd_2/s400/Cristiana+Rocha2.jpg" width="393" border="0" /></a> <span style="font-family:georgia;font-size:85%;"><span style="color:#000000;"><strong><span style="font-size:100%;"></span></strong></span></span><br /><span style="font-family:georgia;font-size:85%;"><span style="color:#000000;"><strong><span style="font-size:100%;">APRESENTAÇÃO PÚBLICA</span></strong><br />performance/instalação <span style="color:#999999;">performance/installation<br /></span>A Oportunidade do Espectador_Dogma Project (Porto)<br />CRISTIANA ROCHA (PT)<br />www.publicpresentation.blogspot.com<br /><br />2 Nov/ 18h30 - 21h00 abertura<br /><span style="color:#999999;">2nd Nov/ 6:30pm - 9pm/ opening<br /></span>3 Nov/ 14h30 - 19h00 exposição<br /><span style="color:#999999;">3rd Nov/ 2:30pm - 7pm/ exhibition<br /></span>Transforma, Praça do Município – 8, Torres Vedras<br /><br /><br />Projecto de colaborações, promotor de encontros transversais que acontecem em vários momentos e dentro dos quais as ideias de apresentação pública são colocadas em perspectiva através do contributo de colaboradores provenientes de diversas áreas artísticas. Cada colaboração enfatiza um dado elemento do espectáculo e/ou um tipo de público-alvo e/ou um tipo de abordagem da relação criador/observador, definindo as premissas de cada momento. Ao longo do processo, há um movimento de deslocação do espaço público e consequente relação com o público ocasional para o local de transição constituído pelos foyers e locais de entrada de salas de espectáculos/museus onde se reúnem os públicos de outros eventos, e destes para o palco/galerias. Todo o projecto é um convite ao observador para que este entre na própria criação e no espaço de representação por excelência, movendo-se entre o espaço real, o espaço socialmente produzido e o espaço ficcional. </span></span><br /><br /><div><div><div><div><div><div><span style="font-family:georgia;font-size:85%;"><div><span style="color:#000000;"><strong>Direcção artística:</strong> Cristiana Rocha<br /><strong>Colaboradores:</strong> Paulo Pimenta (repórter fotográfico), Susana Chiocca (co-criação e interpretação), Pixel82 (música), Wilma Moutinho (direcção técnica e desenho de luz), Eva Ângelo (edição vídeo), Gabriela Vaz Pinheiro (observadora)<br /><strong>Produção Executiva:</strong> Joana Ventura e Mafalda Couto Soares<br /><strong>Produção:</strong> Núcleo de Experimentação Coreográfica<br /><strong>Co-produção:</strong> Fábrica de Movimentos<br /><strong>Apoio:</strong> Balleteatro, ESMAE, Ginasiano, Fundação de Serralves, Plano B<br /></span><span style="color:#000000;"><strong>Projecto apoiado pelo Ministério da Cultura/Direcção Geral das Artes<br /></strong><br /><strong><span style="font-size:100%;">Biografia </span></strong><br /><br />Cristiana Rocha — Pedro, David, Gil. Mar. Matosinhos — Lisboa, Nova Iorque, Porto. Dança — Psicologia. NEC – ESMAE, Espaço t, Casa da Brincad’Eira. 1974 – 1983, 1989, 1993, 1995; 1997; 2000 – 2003, 2005, 2006; Aquário-Leão, Tigre, 17, verde, Love-Machine — Jukebody, Apresentação Pública.<br /><br /></span><span style="color:#999999;">Project of collaborations, promoter of transversal meetings that happen at different moments and inside of which the ideas of public presentation are put in perspective by means of the contribute of collaborators coming from diverse artistic areas. Each contribution emphasizes a certain element of the show and/or a kind of public-target and/or a kind of approach to the creator/observer relation, defining the premises of each moment. During the process, there’s a movement of displacement from the public space and consequent relation with the occasional public to the place of transition consisting of foyers and hallways of theatres/museums, where the public of other events gathers, and from these to the stage/galleries. The whole project is an invitation to the observer. He is invited to participate in the act of creation itself and in the space of representation par excellence, moving around the real space, the space socially produced and the fictional space.<br /><br /><strong>Artistic Direction:</strong> Cristiana Rocha<br /><strong>Collaborators:</strong> Paulo Pimenta (repórter fotográfico), Susana Chiocca (co-creation and interpretation), Pixel82 (music), Wilma Moutinho (technical direction and lights), Eva Ângelo (video editing), Gabriela Vaz Pinheiro (observer)<br /><strong>Executive Production:</strong> Joana Ventura e Mafalda Couto Soares<br /><strong>Production:</strong> Núcleo de Experimentação Coreográfica<br /><strong>Co-production:</strong> Fábrica de Movimentos<br /><strong>Support:</strong> Balleteatro, ESMAE, Ginasiano, Fundação de Serralves, Plano B<br /></span><span style="color:#999999;"><strong>Project financed by the Portuguese Ministry of Culture / DGArtes<br /></strong><br /><strong><span style="font-size:100%;">Biography</span></strong><br /><br />Cristiana Rocha — Pedro, David, Gil. Mar. Matosinhos — Lisbon, New York, Porto. Dance — Psychology. NEC – ESMAE, Espaço t, Casa da Brincad’Eira. 1974 – 1983, 1989, 1993, 1995; 1997; 2000 – 2003, 2005, 2006; Aquário-Leão, Tigre, 17, verde, Love-Machine — Jukebody, Apresentação Pública.</span></div></span></div><div><span style="font-family:georgia;font-size:85%;"><div><span style="font-size:100%;"></span> </div><br /><br /><div><span style="color:#999999;"><strong><span style="font-size:100%;"><span style="color:#000000;">Fotos</span> Photos:</span></strong> </span></div><br /><br /><div><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaRHblD3GpW7Qkh-8g6oZEKtffQSKCjt5ATMPSM_IvFO1jEqioC_GH4Rt59MG9sWNJ_MQk7unJWQA1bRS-V2tkExsEhGW3jayG1RSvim_tVV9W6CHfnrxAUc3ObokHBy5WviGz20V5owUs/s1600-h/PICT8644.JPG"><img id="BLOGGER_PHOTO_ID_5135271278114857458" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaRHblD3GpW7Qkh-8g6oZEKtffQSKCjt5ATMPSM_IvFO1jEqioC_GH4Rt59MG9sWNJ_MQk7unJWQA1bRS-V2tkExsEhGW3jayG1RSvim_tVV9W6CHfnrxAUc3ObokHBy5WviGz20V5owUs/s200/PICT8644.JPG" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK3eZofvJ3ghD0SvlmopxgprRMZ1sC8OqN8091ODzdZADt-C2o8_r3xgzXyA3uex61YhEaLIA0_R7BFzEseWbYRix_3qsJp52kwHsIAf2OJo1UsZ1-8Azu4i1Bh7a2eWFx9DRy3FBbz_qN/s1600-h/IMG_3168.JPG"><img id="BLOGGER_PHOTO_ID_5135271540107862530" style="FLOAT: left; 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MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFBvIV5LuDbLlX0_NVtGNnqR-dJFoQ2nia9wVAsoo0a08YLT9cM9gqyC3Wz_5T28niNEVU9y6R-jFfvLDBwT1F6K6A_5JKax4hmeMHTtxbiZuJ2Ti3jOI2CKrs48lyfh98Mg4f-XG8YBso/s200/PICT8681.JPG" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg66Y1odAPJx2KfO_Vo7lFQUzxzvHW_bEGXznANxfZuCHGi5I_HKvZIJMq6PU9Gf1-tndGBSICBXYrpyB44z2Eyn-SeKjRdyg6eM_2Gke-3FVCepoqDG1H8CgZ8_D5LX9kHuEs-AxKMz7TR/s1600-h/PICT8680.JPG"><img id="BLOGGER_PHOTO_ID_5134982802341453538" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg66Y1odAPJx2KfO_Vo7lFQUzxzvHW_bEGXznANxfZuCHGi5I_HKvZIJMq6PU9Gf1-tndGBSICBXYrpyB44z2Eyn-SeKjRdyg6eM_2Gke-3FVCepoqDG1H8CgZ8_D5LX9kHuEs-AxKMz7TR/s200/PICT8680.JPG" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDd8RqApO5Lc6g5080xtWUwyJUxVD0WBJTYWQmpopDEWmcZQrbLsce_9cttfvWOU-20xVuj84cJZE0Wai724O7KS7EpwMz9n-yXa9z6UGQAHLHqAC7tGIf2TMxKJpVx4QiZnJi3rk3ywZb/s1600-h/PICT8570.JPG"><img id="BLOGGER_PHOTO_ID_5134983442291580674" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDd8RqApO5Lc6g5080xtWUwyJUxVD0WBJTYWQmpopDEWmcZQrbLsce_9cttfvWOU-20xVuj84cJZE0Wai724O7KS7EpwMz9n-yXa9z6UGQAHLHqAC7tGIf2TMxKJpVx4QiZnJi3rk3ywZb/s200/PICT8570.JPG" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi85DqmTuEmwfptZAOQOQrB0VM26ozKhKUbIG8I-6noO9Xghq5ERSuvCypxsEFd0EfTQLpVXeb4t4PWjiW8bYMgxGxMuMafDV0QqRtnLU9UN0NXZNyV7UJxCykMNIVuBRU19RGC-EWtfAsi/s1600-h/PICT8633.JPG"><img id="BLOGGER_PHOTO_ID_5134983077219360498" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi85DqmTuEmwfptZAOQOQrB0VM26ozKhKUbIG8I-6noO9Xghq5ERSuvCypxsEFd0EfTQLpVXeb4t4PWjiW8bYMgxGxMuMafDV0QqRtnLU9UN0NXZNyV7UJxCykMNIVuBRU19RGC-EWtfAsi/s200/PICT8633.JPG" border="0" /></a><br /></div></span></div></div></div></div></div></div>Transformahttp://www.blogger.com/profile/11139847328945551611noreply@blogger.com0tag:blogger.com,1999:blog-4488264026585420216.post-87755749888450734552007-11-07T14:57:00.000+00:002008-11-13T22:19:41.788+00:00<img id="BLOGGER_PHOTO_ID_5130114084466766178" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" height="210" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3tHcAKbdflj0o37k20OAttNwWKhkbL2hgS5sqBWTSUZcQhmJ8GmhGZrHFt_cEE9eH2qk8tg4Q_inGQ43ftEOd1vK4CaQa_np5AdMj4waPjLzHT0rvt8zVEmgm7_mseDNs4Eobkt1dy3vA/s320/The+curator%27s+office_PB.jpg" width="278" border="0" /><br /><span style="font-family:georgia;"><span style="font-size:85%;"><strong><span style="font-size:100%;">A OPORTUNIDADE DO ESPECTADOR –<br />The Curator’s Office</span><br /></strong>instalação <span style="color:#999999;">installation</span></span><br /></span><span style="font-size:85%;"><span style="font-family:georgia;">ROGÉRIO NUNO COSTA (PT)<br />2 Nov/ 18h30 - 21h00 abertura </span><span style="font-family:georgia;"><span style="color:#999999;">2nd Nov/ 6:30pm - 9pm/ opening<br /></span>3 Nov/ 14h30 - 19h00/ exposição </span><span style="font-family:georgia;"><span style="color:#999999;">3rd Nov/ 14:30pm - 7pm/ exhibition<br /></span>4 - 17 Nov/ Seg - Sáb/ 10h - 19h00/ exposição </span><span style="font-family:georgia;color:#999999;">4th - 17th Nov/ Mon - Sat/ 10am - 7pm/ exhibition<br /></span><span style="font-family:georgia;"><em>Transforma, Praça do Município – 8, Torres Vedras<br /></em><br />Fazer o projecto é contar a história do projecto. Contar a história do projecto implica dizer a verdade. Dizer a verdade exige apresentação de provas. E a apresentação de provas é suportada por um método simultaneamente científico, filosófico, antropológico e jornalístico: tubo de ensaio meets idealismo lógico meets observação participante meets legitimidade das fontes. No espaço original estarão: uma mesa, uma cadeira, um computador portátil, uma agenda de 2007, uma agenda de 2008, um calendário de parede, uma televisão, um leitor de dvd, um pequeno divã, uma planta de plástico, um suporte para revistas, um fato Armani, um post-it a dizer “Ausente”, uma estante com prémios, uma esferográfica de tinta permanente, 20 contratos: “Eu, criador x, comprometo-me a cumprir, ao longo de todas as fases do meu processo de trabalho, as seguintes regras, obrigações e interdições, que o ‘Dogma 2005’ contempla e às quais terei que submeter o meu projecto. Assinado: x.” Muitas vezes, o making of não é mais importante que o filme; muitas vezes, o making of é mesmo o filme. </span></span><br /><span style="font-size:85%;"><br /><span style="font-family:georgia;"><strong><span style="font-size:100%;">Biografia</span></strong><br /><br />Rogério Nuno Costa nasceu em Amares, em 1978. Vive e trabalha em Lisboa, como artista, investigador e professor, em várias áreas da prática e do pensamento performativo. É licenciado em Comunicação Social. Frequentou o mestrado em História da Arte Contemporânea. Frequenta actualmente o Mestrado em Cultura Contemporânea e Novas Tecnologias na Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa. Como intérprete, criador e colaborador artístico, trabalhou com: Teatro Praga, Sónia Baptista, Patrícia Portela, Lúcia Sigalho/Companhia de Teatro Sensurround, João Cabral/Grupo de Teatro do ISCSP, Alain Béhar, Rosa Coutinho Cabral, Sofia Neuparth, Nelson Guerreiro, Teresa Prima, Ramiro Guerreiro e projecto "Parasitas", entre outros. Colaborou ainda com várias companhias e estruturas, tais como: [msdm]/Londres, Buda Centre/Kortrijk (Bélgica), Cão Solteiro Teatro, Chão de Oliva/Companhia de Teatro de Sintra, Companhia de Teatro de Braga, OLHO, Centro em Movimento, Transforma AC/Torres Vedras, Quarta Parede/Covilhã, Festival Sonda/Caldas da Rainha, Companhia de Dança Contemporânea de Évora, Dance Kiosk/Hamburgo e Tanzfabrik/Berlim. É observador do Festival A8/Torres Vedras (org.: Transforma AC), desde 2003. Escreveu sobre artes performativas em diversas publicações, tais como: revista DIF (Lisboa), revista Artinsite, (Torres Vedras), Cadernos de Dança da CDCE (Évora), entre outras. Leccionou um seminário de Performance na Escola Superior de Artes e Design das Caldas da Rainha. Dirigiu, escreveu e interpretou: "A Leitura Encenada É Um Género Que Não Faz O Meu Género" (2002), "Vou A Tua Casa" (2003), "Saudades Do Tempo Em Que Se Dizia Texto" (2003), "ACTOR" (2004), "No Caminho" (2004), "FUI - esboços" (2005/2006), "Lado C" (2005/2006) e "Projecto de Documentação" (2006/2007). Actualmente, prepara o projecto "A Oportunidade do Espectador", em várias cidades portuguesas e estrangeiras.<br /><br />Doing a project is to tell its story. Telling the story of a project means to say the truth. Saying the truth demands the presentation of evidence. And the presentation of evidence is supported by a simultaneously scientific, philosophic, anthropologic and journalistic method: assay pipe meets logical idealism meets participant observation meets legitimacy of the sources. In the original space there will be: a table, a chair, a laptop, a 2007 diary, a 2008 diary, a wall calendar, a TV, a DVD player, a small couch, an artificial plant, a magazine rack, an Armani suit, a post-it saying ‘Away’, shelves, a permanent ink pen, 20 contracts: ‘I, creator x, commit myself to follow, throughout all the phases of my working process, the rules, obligations and interdictions that `Dogma 2005' contemplates and to which I will have that to submit my project. Signed: X.’ Most of the times the making of isn’t more important than the movie; most of the times the making of is actually the movie.<br /><br /></span><span style="font-family:georgia;"><span style="color:#999999;"><strong>Biography</strong><br /><br />Rogério Nuno Costa was born in Amares, in 1978. Lives and works in Lisbon, as an artist, researcher and a teacher, in several areas of performative practice and thought. University degree in Social Communication. Pursued a Master’s in History of Contemporary Art. Currently pursues a Master’s in Contemporary Culture and New Technologies at Faculdade de Ciências Sociais e Humanas da Universidade de Lisboa. As an actor/performer, creator and artistic collaborator, he worked with: Teatro Praga, Sónia Baptista, Patrícia Portela, Lúcia Sigalho/ Sensurround, João Cabral/Grupo de Teatro do ISCSP, Alain Béhar, Rosa Coutinho Cabral, Sofia Neuparth, Nelson Guerreiro, Teresa Prima, Ramiro Guerreiro and project "Parasitas", among others. Various collaborations with other companies and assocations, such as: [msdm]/Londres, Buda Centre/Kortrijk (Bélgica), Cão Solteiro Teatro, Chão de Oliva/Companhia de Teatro de Sintra, Companhia de Teatro de Braga, OLHO, Centro em Movimento, Transforma AC/Torres Vedras, Quarta Parede/Covilhã, Festival Sonda/Caldas da Rainha, Companhia de Dança Contemporânea de Évora, Dance Kiosk/Hamburgo e Tanzfabrik/Berlim. Observer of the A8 Festival/Torres Vedras (org.: Transforma AC), since 2003. Writes about performative arts to: DIF magazine (Lisboa), Artinsite magazine (Torres Vedras), Cadernos de Dança da CDCE (Évora), among others. Lectured on Performance at Escola Superior de Artes e Design das Caldas da Rainha. Wrote, directed and performed: "A Leitura Encenada É Um Género Que Não Faz O Meu Género" (2002), "Vou A Tua Casa/ Going To Your Place" (2003), "Saudades Do Tempo Em Que Se Dizia Texto" (2003), "ACTOR" (2004), "No Caminho" (2004), "FUI - esboços" (2005/2006), "Lado C" (2005/2006) e "Projecto de Documentação" (2006/2007). At the moment he’s preparing the "A Oportunidade do Espectador/ The Spectator’s Opportunity" project, in several portuguese and foreign cities.<br /></span><br /></span><span style="font-family:georgia;"><strong>A OPORTUNIDADE DO ESPECTADOR<br /></strong>Um projecto curatorial de Rogério Nuno Costa<br /><br />Entre os meses de Outubro de 2006 e Outubro de 2007, realizei um total de 8 workshops em 8 cidades diferentes (Caldas da Rainha, Torres Vedras, Porto, Lisboa, Hamburgo, Braga, Berlim e Almada). Esses workshops basearam-se em pressupostos teórico-práticos e conceptuais desenvolvidos no seio do projecto “Vou A Tua Casa” (www.vouatuacasa.blogspot.com), trilogia que apresentei ao longo de três anos (2003/2006) em várias cidades portuguesas e estrangeiras, assim como noutros projectos a ela adjacentes: “FUI” (2005/2006) e “Projecto de Documentação” (2006/2007). O documento “Dogma 2005” (www.dogma05.blogspot.com), que compila num set inflexível e incontestável de regras os avanços teorizantes dos projectos atrás elencados, tornou-se na ferramenta basilar utilizada nos ditos workshops. Dos 70 “artistas” participantes, desafiei 17 a darem seguimento aos projectos criados durante o workshop, embora respeitando de forma ainda mais rigorosa e contínua as regras impostas pelo “Dogma”. Convidei depois mais 3 participantes de 3 outras cidades onde a trilogia “Vou A Tua Casa” foi apresentada (Londres, Covilhã e Évora), totalizando assim um grupo de 20 participantes, aos quais chamo “espectadores oportunos”. A estes juntei um grupo de “pensadores”, um grupo de “observadores” e uma “selecção de esperanças” (para uma nova ordem do diálogo crítico em Portugal); ainda uma série de terroristas de rua, alguns videoclips clandestinos com meias na cabeça e voz distorcida, uma ideia de filme, uma ideia de livro, conversas secretas, um workshop de dança hip hop, a fundação oficial da Associação dos Amigos do “Vou A Tua Casa”, uma exposição da “arte dos espectadores” e um dj set de música totalitária. Tudo desligado e tudo desembrulhado. “A Oportunidade do Espectador” é, por isso, sobre liberdade artística, mas também sobre corrupção, sobre imposição de novos cânones, sobre a ética do observador, sobre a importância do MSN Messenger e do blogger.com para a criação artística contemporânea e sobre o nascimento de mais uma seita nominalista (que já começou a recolher o dízimo) mas que não passa de um novo Modernismo ressuscitado com sotaque e retórica pós-modernos. “Abaixo a tentativa anacrónica de superação doentia da crise da contemporaneidade”, diz o “Dogma”. “Power to the people”’, digo eu.<br /><br /></span></span><span style="font-size:85%;"></span><span style="font-size:85%;"><span style="color:#999999;"><span style="font-family:georgia;"><strong>THE SPECTATOR’S OPPORTUNITY<br /></strong>A curatorial project by Rogério Nuno Costa<br /><br />From October 2006 to October 2007, I made 8 workshops in 8 different cities (Caldas da Rainha, Torres Vedras, Porto, Lisbon, Hamburg, Braga, Berlim and Almada). Those workshops were based on theoretical, practical and conceptual conjectures, which were developed within the project “Going To Your Place / Vou A Tua Casa” (www.vouatuacasa.blogspot.com), a theatrical trilogy that I presented in several portuguese and foreign cities, during 3 years (2003/2006), along with other projects: “FUI” (2005/2006) and “Projecto de Documentação” (2006/2007). The document “Dogma05” (www.dogma05.blogspot.com) became the most important tool used on the workshops, since it records, in a set of inflexible and unquestionable rules, the theoretical progress made by the projects mentioned before. I challenged 17 from the 70 participant ‘artists’ to develop the projects they created during the workshop, on condition that they had to respect the rules imposed by Dogma in a stricter and continuous way. I invited 3 other participants from 3 other cities where this trilogy was presented (London, Covilhã and Évora), forming a group of 20 participants. I call them ‘opportune spectators’. I gathered this group along with a group of ‘thinkers’, a group of ‘observers’ and a ‘selection of hopes’ (to a new critical dialogue in Portugal); and several street terrorists, some underground videoclips with socks on their heads and distorted voice, an idea of film, an idea of book, secret conversations, a workshop on hip hop dance, the official founding of the ‘Going To Your Place’ Friends Association, an exhibition of the ‘spectators art’, a totalitarian music dj set. Everything turned off and unwrapped. ‘The Spectator’s Opportunity’ is, therefore, about artistic freedom, but also about corruption, imposition of new canons, the observer’s ethic, the importance of MSN Messenger and blogger.com to contemporaneous artistic creation and the emergence of another nominalist faction (that already started to collect the tithe), which is nothing but a new and reborn Modernism with post-modern accent and rhetoric. ‘Down with the anachronic attempt to overcome the contemporaneousness’ crisis’, says ‘Dogma’. ‘Power to the people!’, I say.</span></span></span><br /><br /><div><div><div><div><div><div><div><div><br /><div><div><div><div><div><div><div><br /><div><div><div><div><div><br /><div><span style="font-size:85%;color:#999999;"><strong><span style="font-size:100%;"><span style="color:#000000;">Fotos</span> Photos:</span></strong> </span></div><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJcswrbxyUcrbnhGHHXZAmxPb673BkVEPNbvXhzSWiptdTXriSuaWBCDWCSYEmlvgSnF9Il94iEc7p-a1JJOVYn5S7qJqFqRzmYNBdYPWy8osajgEutcSwNiOSuBTXcSv3o7mIQSae9Q3a/s1600-h/DSC00072.JPG"><img id="BLOGGER_PHOTO_ID_5135262138424451426" style="FLOAT: left; 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MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeoYb06fZg1dfIT5zjIwNixTJcP8JkXsgOkdabYLeLKxUGluFlePb_NvMCsHcHA6pqrEI8gCzTTVx43W3yvSZz2fJVBCz66BD_tLajs_BPP23x1wLWnvY33pxpF30JWVms81-P8-43TJi0/s200/IMG_3116.JPG" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9ckSrD_F9JFW17R9B06exgr8soEs91t296SVAhXRuECXZPthLFuKzyAkGRhI_N7frWqna0hj8OS9tm-wHKEt__v-vU2m2Pl__iIxH3OXGic0PhH1Cy4AWJVsnIteHIvrf6vGySMgrfzj8/s1600-h/IMG_3136.JPG"><img id="BLOGGER_PHOTO_ID_5135266596600504738" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9ckSrD_F9JFW17R9B06exgr8soEs91t296SVAhXRuECXZPthLFuKzyAkGRhI_N7frWqna0hj8OS9tm-wHKEt__v-vU2m2Pl__iIxH3OXGic0PhH1Cy4AWJVsnIteHIvrf6vGySMgrfzj8/s200/IMG_3136.JPG" border="0" /></a><br /><br /><br /><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjABeJdrXk1CiwCIxIBVYmHKU4pEka6aIzA701tg30NDl_nkY7P7ebYJFJRcp0ReTBMBJI85cjYAKmJ6c9UKJy5Kqe1mWdGeR-7rJR14mSiFqt1aygxPURX6XWlIfgvPd1RJ0xa1rJMWAi1/s1600-h/IMG_3136.JPG"></a></p><br /><br /><br /><p></p><br /><br /><br /><p></p><br /><br /><br /><p></p><br /><br /><br /><p align="left"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm5L09dbEjZvP_KHCPw8QVJYpgQWhmgptgdJtbRgjiZbpSUm5pUVmkruT_2Mpk2JWZQ93ihVPrf3ZBQbEqciboeO0C-TplNa350XncCZDCwcjEXYjSME4AeHUhnB2d5TfFUd7uau904ayL/s1600-h/IMG_3116.JPG"></a></p>Transformahttp://www.blogger.com/profile/11139847328945551611noreply@blogger.com0tag:blogger.com,1999:blog-4488264026585420216.post-32984746546394564272007-11-01T09:21:00.003+00:002008-11-13T22:22:02.630+00:00<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6UhohWLheS-2z3sDECkoIa6sJsmllyesIoufkeYORuMVTsbPb0p1TPU0yZKd94t85a0HibNBL3aOWpwemltLFBJR0JboYZlNyXrZM6lLGtrkHlkUYeOYpuJeEc-fqa1rPvPMfxFZcpdGu/s1600-h/casaConvite.jpg"><img id="BLOGGER_PHOTO_ID_5127916444190683474" style="FLOAT: left; MARGIN: 0pt 10px 10px 0pt; CURSOR: pointer" height="164" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6UhohWLheS-2z3sDECkoIa6sJsmllyesIoufkeYORuMVTsbPb0p1TPU0yZKd94t85a0HibNBL3aOWpwemltLFBJR0JboYZlNyXrZM6lLGtrkHlkUYeOYpuJeEc-fqa1rPvPMfxFZcpdGu/s400/casaConvite.jpg" width="415" border="0" /></a><br /><span style="FONT-WEIGHT: bold;font-family:georgia;" ></span><br /><span style="FONT-WEIGHT: bold;font-family:georgia;" ></span><br /><span style="FONT-WEIGHT: bold;font-family:georgia;" ></span><br /><span style="FONT-WEIGHT: bold;font-family:georgia;" ></span><br /><span style="FONT-WEIGHT: bold;font-family:georgia;" >uma casa no castelo - o sítio, a casa e o local<br /></span><span style="font-size:85%;"><span style="font-family:georgia;">intervenção multidisciplinar <span style="COLOR: rgb(153,153,153)">multidisciplinary intervention</span><br />Curadoria de <span style="COLOR: rgb(153,153,153)">Curated by</span>: <span style="FONT-WEIGHT: bold">Isabel Baraona (pt)</span></span><span style="font-family:georgia;"><span style="FONT-WEIGHT: bold"><br /></span><span style="FONT-WEIGHT: bold">Adélia Caldeano, David Monteiro, Diogo Martins, Eduarda Silva, Eduardo Malé, Filipe Frazão, Ivan Barroso, Jorge Reis, Lucas Almeida, Luís Simões, Marisa Gonçalves, Marisa Teixeira, Marta Machado, Rita Manuel, Teresa Mariana Silva</span><br />26 Out – 18h30 / inauguração <span style="COLOR: rgb(153,153,153)">26th Oct – 6:30pm /</span> <span style="COLOR: rgb(153,153,153)">opening</span> 27 Out / 17 Nov – Seg – Sáb, 10h00 – 19h00 / exposição <span style="COLOR: rgb(153,153,153)">27th Oct – 17th Nov / Mon – Sat, 10am – 7pm / exhibition </span>Casa do Castelo, Rua Capitão Luís Boto Pimentel (antiga <span style="COLOR: rgb(153,153,153)">former</span> Rua do Castelo) - 11, Torres Vedras<br /><br /></span></span><span style="font-family:georgia;"><span style="font-size:85%;">O carácter privilegiado do espaço expositivo onde se realiza uma casa no castelo permite uma mostra de trabalhos diversificada em termos de abordagens, técnicas, materiais e dimensões. Aproveitando esta ocasião excepcional foram desenvolvidos dois projectos pedagógicos com um grupo de alunos do curso de Artes Plásticas e um grupo de alunos do curso de Animação Cultural da ESAD.CR. Foram convidados 14 alunos e ex-alunos finalistas do curso de Artes Plásticas de vários anos. Os alunos foram responsabilizados – enquanto autores – a desenvolver trabalho em função do espaço cedido pela Transforma: num primeiro momento estudaram o local, consciencializando-se das suas características específicas e, posteriormente, elaboraram projectos site-specific, trabalhando in loco. A selecção dos alunos e respectivos trabalhos apresentados reúne um conjunto de peças heterogéneo – que tem um denominador comum e estruturante: o desenho. Aos alunos de Animação Cultural – Adélia Caldeano, Teresa Mariana Silva – foi dada a oportunidade de trabalhar directamente e em estreita colaboração com os alunos da Artes Plásticas – jovens artistas – tendo o privilégio de observar o processo criativo de elaboração e construção de um projecto. Este aspecto, normalmente relegado a um segundo plano, foi fundamental no planeamento de todas as actividades pedagógicas e lúdicas, fruto da cumplicidade e do diálogo gerado entre os dois grupos. Ou seja, procurou-se desenvolver um projecto na sua totalidade, em termos formais e éticos: ao responsabilizar o aluno procura-se que crie a sua autonomia – ensinar a autonomia – tornando-o activo e consciente das dificuldades inerentes ao processo de elaboração, apresentação e montagem de uma exposição. Nos últimos anos, torna-se cada vez mais evidente que o projecto pedagógico da ESAD.CR comporta não só o acompanhamento dos alunos na sua articulação com a prática profissional durante o período da sua formação académica, mas também, o apoio na participação destes em exposições e sua inserção no mercado de trabalho.<br /></span><br /><br /><span style="FONT-WEIGHT: bold">Adélia Caldeano</span> </span><span style="font-size:85%;"><br /><span style="font-family:georgia;">Trabalho realizado no âmbito da cadeira de Projecto Cultural dos docentes: João Miguel Garcia e Nelson Guerreiro; com alunos da EB1 da Encosta do Sol, da Escola de Educação Especial Rainha Leonor e o Lar do Montepio de Caldas da Rainha. O objectivo consistia em alertar para a urgência da preservação do meio ambiente, invocando o enternecimento das crianças passando pelos pais e chegando até aos avós. </span><span style="FONT-WEIGHT: bold"><br /><span style="font-family:georgia;">Biografia</span></span><span style="font-family:georgia;"><br />Nasce a 29 de Dezembro de 1962, numa pequena aldeia, e conclui a escolaridade obrigatória, 6º ano, começando a trabalhar aos 14 anos. Aos 36 anos, já mãe de dois filhos, inicia os estudos, encontrando-se a trabalhar no ramo de joalharia. Mais tarde, trabalha numa escola como auxiliar de acção educativa, onde participa em vários projectos educativos. Conclui o ensino básico e secundário, faz os exames de acesso ao ensino superior e candidata-se ao Curso de Animação Cultural, na ESAD. Hoje encontra-se a finalizar o curso e a desempenhar o cargo de administrativa escolar, no Agrupamento de Escolas D. João II em Caldas da Rainha.</span><span style="FONT-WEIGHT: bold;font-family:georgia;" ><br /></span></span><br /><span style="font-size:85%;"><span style="FONT-WEIGHT: bold;font-family:georgia;" ><br /></span></span><span style="FONT-WEIGHT: bold;font-family:georgia;" >David Monteiro</span><span style="FONT-WEIGHT: bold;font-family:georgia;" ><br /></span><span style="font-size:85%;"><span style="font-family:georgia;"><span style="FONT-WEIGHT: bold">Conta-me Histórias!</span><br /><br />Proponho-me compor uma rede de ligações entre pequenos desenhos que, percorridos pelo olhar, nos remetem para uma narrativa.</span><span style="font-family:georgia;"><span style="FONT-WEIGHT: bold"><br /></span><span style="FONT-WEIGHT: bold">Biografia</span><br />David Monteiro, nascido em 6 de Agosto de 1979 na Covilhã, cresce durante a sua juventude em Castelo Branco, em 1998 entra na ESTGAD Caldas da Rainha e termina o bacharelato em pintura em 2003; após uma interrupção nos estudos retoma em 2005 na ESAD Caldas da Rainha para concluir em 2007 a licenciatura em artes plásticas. </span></span><br /><br /><span style="FONT-WEIGHT: bold"></span><span style="FONT-WEIGHT: bold"><br /><span style="font-family:georgia;">Diogo Martins</span></span><span style="font-family:georgia;"><br /></span><span style="font-size:85%;"><span style="font-family:georgia;"><span style="FONT-WEIGHT: bold">entre mim e ti só existe um corpo<br /></span><br />A fotografia é fruto de uma performance que utiliza como matérias o corpo, o equilíbrio e a gravidade. E, é através de uma habitação desse outro corpo da natureza, a árvore, que toda a coreografia se desenvolve. Uma performance em que um corpo fica suspenso num tecido que envolve o tronco de uma árvore como se se tratasse de uma bolsa que contém um corpo.<br />“A Natureza é um lugar a ser habitado que nos permite momentos de transcendência. Num relacionamento íntimo entre o performer e um corpo da natureza vão gerar-se espaços ocupados por sensações. Vão emergir processos de metamorfose de ambos, visíveis por uma corporeidade presente. Um pulsar de ritmos impressos por fendas despoletam momentos de desejo eminente e imanente. São espaços de desejo que emergem no cruzamento entre o dito e o indizível. Sensação não habitável por palavras que surgem para registar um pulsar.” </span></span><span style="FONT-WEIGHT: bold;font-size:85%;" ><br /><span style="font-family:georgia;">Biografia</span></span><span style="font-family:georgia;"><br /></span><span style="font-size:85%;"><span style="font-family:georgia;">Diogo Martins, Artista Plástico, nasceu em 1985 em Lisboa. Licenciou-se em Artes Plásticas pela Escola Superior de Arte e Design das Caldas da Rainha, cidade onde vive e trabalha.</span><span style="FONT-WEIGHT: bold;font-family:georgia;" ><br /><br /><br /></span></span><span style="font-family:georgia;"><span style="FONT-WEIGHT: bold">Eduarda Silva</span> </span><span style="font-size:85%;"><br /><br /><span style="font-family:georgia;">O conceito do meu trabalho situa-se na identidade feminina, na sua associação ao corpo e às suas coordenadas como a moda, a sexualidade e o amor. A moda surge referenciada no meu trabalho através de desenhos de silhuetas, fragmentos do corpo e por desenho padrão, sendo esta uma alusão aos tecidos. Dentro deste contexto surge também a forma como tudo isto é passado para o papel; em que os desenhos são cuidadosamente bordados, sendo estes uma reminiscência dos labores ou trabalhos manuais que têm sido destinados às mãos femininas, ou as chamadas “fadas do lar”. O conceito de sexualidade gera outro tipo de conflito, o da dor e da violência, o do amor como uma operação cirúrgica (citado por Simone de Beauvoir em O Segundo Sexo). Se por um lado os bordados nos transformam em fadas, a sexualidade já nos transforma em prostitutas ou objectos de desejo.<br />Os meus desenhos resultam de um bordado em papel perfurado, em que a linha branca sobre o branco desenha, numa forma sóbria e silenciosa, a dor e a cólera, que surge nos desenhos por manchas vermelhas, que escorrem no papel como o sangue que escorre na pele rasgada. O branco e o vermelho são formas de vincar o corpo. A figura feminina é marcada pelo silêncio, pela ausência e por acessos de fúria; manchas vermelhas desenham cólera e violência, bordados brancos desenham o silêncio.<br /></span></span><span style="font-family:georgia;"><span style="FONT-WEIGHT: bold;font-size:85%;" >Biografia</span><br /><span style="font-size:85%;">Eduarda Silva nasceu em Caldas da Rainha em 1981, local onde reside e trabalha. Em 2004 licenciou- se em Artes Plásticas na ESAD das Caldas da Rainha. O seu trabalho situa-se numa perspectiva feminista relacionada com a arte identidade. Desenvolve em paralelo um projecto de artesanato contemporâneo. </span><br /><span style="font-size:85%;"></span></span><span style="FONT-WEIGHT: bold"><br /><br /><span style="font-family:georgia;">Eduardo Malé</span></span><span style="font-family:georgia;"><br /><span style="FONT-WEIGHT: bold;font-size:85%;" >Ambientar</span></span><span style="font-family:georgia;"><span style="font-size:85%;"><span style="FONT-WEIGHT: bold"><br /><br /></span><span style="FONT-WEIGHT: bold">Ambientar</span> é um projecto pensado a partir do tema “onde estás” que reflecte preocupações para além das memórias do “habitar” em relação à Casa do Castelo em Torres Vedras, pois extravasa todo o espaço geográfico Torriense situando-se no plano do debate global e transversal da agenda mediática quotidiana mundial, designadamente o aquecimento do planeta terra e a escassez da água. Este trabalho tem na sua génesis a fragilidade humana e assenta o seu discurso na lei da conservação da matéria do químico Antoine Lavoisier “nada se perde, tudo se transforma” e elege a reciclagem como processo e o papel como médium (matéria).<br /></span><span style="FONT-WEIGHT: bold;font-size:85%;" >Biografia</span><br /><span style="font-size:85%;">Eduardo Malé nasceu em São Tomé, em 1973. Cursou Desenho, Pintura e História de Arte na Sociedade Nacional de Belas Artes e Design de Equipamento na Escola de António Arroio, em Lisboa. Licenciado Artes em Artes Plásticas pela Escola Superior de Arte e Design (ESAD.CR), do Instituto Politécnico de Leiria, nas Caldas da Rainha. Autor, produtor e realizador do projecto CinemAcção em Cinema de animação. Realizou o filme de animação “táxi amarelo”. Trabalhou durante ano e meio, como colaborador no atelier de Pintura de Zoran Smilianic, em Lisboa. Desenvolveu trabalhos de Artes Plásticas, como monitor de OTL, em Caselas, Lisboa, e no Pavilhão do Conselho da Europa durante a Expo-98. Leccionou a disciplina de Educação Visual e Tecnológica na Escola Básica do 1º e 2º ciclos Mouzinho de Albuquerque na Batalha. Participou no Projecto Experimentação 01, como animador do Workshop de iniciação ao Desenho para jovens e crianças, respectivamente na II e III Bienal Internacional de Arte e Cultura, em S.Tomé e Príncipe – 2002/2004. É Animador de Expressão Plástica, nas Escolas Básicas do 1º. Ciclo de Marrazes e Quinta do Alçada, Leiria, actividade integrada no Projecto MUS-E, da International Yehudi Menuhin Foundation, sediada em Bruxelas. Participou em mais de quatro dezenas de exposições individuais e colectivas. </span><br /><br /><br /><span style="FONT-WEIGHT: bold">Filipe Frazão + Marisa Teixeira</span><br /><br /><span style="font-size:85%;">Um desenho que preenche e representa fragmentos arquitectónicos. Uma luz programada activa esses fragmentos. Ambos revelam, destroem e reconstroem um novo espaço, habitando-o numa temporalidade própria. </span></span><span style="FONT-WEIGHT: bold;font-size:85%;" ><br /><span style="font-family:georgia;">Biografias</span></span><span style="font-family:georgia;"><br /></span><span style="font-size:85%;"><span style="font-family:georgia;"><span style="FONT-WEIGHT: bold">Filipe Frazão</span><br />Nasceu nas Caldas da Rainha, 1984. Vive e trabalha nas Caldas da Rainha. Em 2006 frequenta o programa Erasmus na UCE (University of Central England), Birmingham, Reino Unido. Ainda nesse ano participa na Bienal Internacional da Luz, Luzboa. Licenciatura em Artes Plásticas pela ESAD.CR, 2007.</span><span style="FONT-WEIGHT: bold;font-family:georgia;" ><br /></span></span><span style="font-family:georgia;"><span style="font-size:85%;"><span style="FONT-WEIGHT: bold">Marisa Teixeira</span><br />Nasceu no ano de 1983 em Leiria. Vive e trabalha nas Caldas da Rainha. No ano de 2006 participa na Bienal Internacional da Luz, Luzboa, Lisboa. Licenciatura em Artes Plásticas pela ESAD.CR, 2007.<br /><br /><br /></span><span style="FONT-WEIGHT: bold">Ivan Barroso</span></span><span style="font-family:georgia;font-size:85%;"><br /><br />Para este projecto Casa do Castelo proponho uma interpretação sensível e efémera sobre o tema 'Where are you Onde estás'. Construo um discurso entre a bidimensionalidade do desenho e a tridimensionalidade da escultura. Com a parede como suporte procuro aliar as possibilidades do meu gesto artístico à energia física do local.<br /></span><span style="font-family:georgia;"><span style="font-size:85%;"><span style="FONT-WEIGHT: bold">Biografia</span><br />Ivan Barroso nasceu em Lisboa, em 1980. Possui o grau académico de Licenciatura em Artes Plásticas na Escola Superior Artes e Design das Caldas da Rainha. Frequentou diversos cursos e workshops de especialização artística. É actualmente freelancer e formador em várias áreas. Participa regularmente, desde 2000, em exposições colectivas e individuais em Portugal. </span><br /><span style="font-size:85%;"></span></span><span style="font-size:85%;"><br /><br /></span><span style="FONT-WEIGHT: bold;font-family:georgia;" >Jorge Reis<br /></span><span style="font-size:85%;"><br /></span><span style="font-family:georgia;font-size:85%;">A partir da observação que fiz das obras de Torie Begg, cheguei a uma conclusão. Reparei que o assunto estava na objectificação da pintura, onde havia uma recusa da representação na superfície do plano da pintura. Toda a atenção residia, portanto, nos bordos da imagem. A tinta escorrida que se apresentava para além dos bordos, é enfatizada pela ausência de assunto na superfície do plano da pintura. Perante isto, entendi que a tinta se queria autonomizar do suporte, e concluí a minha interpretação com uma questão: “Quais serão os requisitos mínimos para uma pintura?”, ao que respondi “Se a tinta se quer autonomizar do suporte, é porque a tinta se mostra, de facto e devido a esta situação, como um elemento que se pretende desprender dos conceitos canónicos de academismo.” </span><span style="font-family:georgia;font-size:85%;">Tomei decisões que foram, portanto, reveladoras para o meu trabalho, tais como a de apresentar uma situação de mancha de tinta que parece ter sido acidentalmente deixada cair no espaço. Este aspecto acidental dissocia-se de qualquer intenção de representação. Uma vez que é dado este aspecto acidental, o espectador jamais poderá interpretá-lo como se ele tivesse origem num acto propositado. Nesta situação não é feita nenhuma invocação de suporte de pintura, porque a mancha afirma-se apenas como uma mancha de tinta proveniente de um acto desprovido de intenções. O suporte de pintura é rejeitado, mas o que passa para o espectador não é essa recusa. Na imediatez da apreensão da mancha, o espectador sente o inesperado, e a surpresa, por causa do aspecto acidental da mancha e da relação que ela tem com o espaço. O espaço acaba por ser um elemento muito importante neste projecto. É nele que consigo, de facto, desviar-me de todas as intenções de representação em pintura, partilhando a mesma relação que estava patente nas décadas dos anos 60 e 70 com o minimalismo e o conceptualismo americanos. A relação obra – espaço, é tomada, agora neste momento, como a matriz da experimentação no meu trabalho.<br /></span><span style="font-family:georgia;"><span style="FONT-WEIGHT: bold;font-size:85%;" >Biografia<br /></span><span style="font-size:85%;">Natural da Gafanha da Encarnação, Jorge Reis licenciou-se em Artes Plásticas na Escola Superior de Artes e Design das Caldas da Rainha. Em 2004 participou na exposição inaugural do espaço “Rotunda Luminosa” em Caldas da Rainha com a apresentação de um trabalho de desenho na exposição “Ping-Pong”, uma iniciativa coordenada pelo docente da ESAD, Jorge Feijão. Em 2005 foi seleccionado em duas categorias no concurso “Jovem Criador Aveiro 05”: Pintura e Arte Digital. Em 2007, foi convidado a enviar um vídeo para a London International Creative Competition.</span><br /></span><span style="font-size:85%;"><br /><br /></span><span style="font-family:georgia;"><span style="FONT-WEIGHT: bold">Lucas Almeida<br /></span><br /><span style="font-size:85%;">Comecei por desenhar no mármore sem pensar muito. À medida que ia desenhando surgiram várias questões. Comecei apenas por salientar a riqueza já existente no próprio mármore, mas depois comecei a sentir que não me estava a exprimir, que não tinha gesto, então fui tentando adequar, adaptar-me àquela profundidade de texturas e cores existente naquela mesa. Tentei encontrar o equilíbrio entre as formas e o gesto, dar a força e energia, naquela matéria subtil existente para além da superfície.</span><br /></span><span style="font-family:georgia;"><span style="FONT-WEIGHT: bold;font-size:85%;" >Biografia<br /></span><span style="font-size:85%;">Desde muito novo entrei em contacto com os materiais de expressão plástica, criando desde logo um fascínio pela criação artística. À medida que fui crescendo tive influências que foram marcando o meu percurso, como a banda desenhada e os filmes de animação. Não encontrei outra opção, tive em artes na escola e em seguida entrei na Escola Superior de Artes de Design das Caldas da Rainha, onde estive 5 anos de experimentação e investigação.</span><br /><br /><br /><span style="FONT-WEIGHT: bold">Luís Simões + Rita Manuel</span> </span><span style="font-size:85%;"><br /></span><span style="font-family:georgia;font-size:85%;">O facto do jardim estar ao abandono provoca uma inquietação também sentida na casa, pela sua falta de vida. No entanto, a presença da bomba de água poderá devolver ao lugar uma memória das suas vivências, em simbiose com um processo de regeneração e revitalização do espaço natural.<br /></span><span style="font-family:georgia;"><span style="FONT-WEIGHT: bold;font-size:85%;" >Biografia<br /></span><span style="font-size:85%;">Rita Manuel e Luis Simões vivem e trabalham em Caldas da Rainha. Terminaram recentemente o Curso de Artes Plásticas pela ESAD.CR. Trabalham como colectivo desde o início de 2007. O seu trabalho tem-se desenvolvido contextualmente, tendo em conta o lugar nas suas características vivenciais, propondo reflexões acerca da forma como o homem faz a relação entre espaço natural e espaço cultural.</span><br /><br /><br /><span style="FONT-WEIGHT: bold">Marisa Gonçalves</span><br /><span style="font-size:85%;">Em primeiro lugar o meu trabalho é sobre uma parte do corpo: as pernas. Pretendo captar a atenção para uma parte do corpo para a qual pouco olhamos ou até contemplamos. Hoje em dia é o rosto que lidera a atenção das pessoas. Esquecem-se que são dependentes de uma importantíssima parte do seu corpo. As pernas e os pés que suportam todo o nosso peso e ainda nos “transportam”, nos fazem ter livre mobilidade para levar uma vida independente dos outros.</span><span style="font-size:85%;"> </span></span><span style="font-family:georgia;"><span style="font-size:85%;">O pó de grafite dá-lhes a expressividade que pretendo. Modela, arredonda, torneia, contorna e transforma. Mostram a sua volumetria pelo uso das sombras negras que aumentam a sua expressão. Valorizo a sua importância, a sua função, a sua estética. O corpo é o nosso único lugar de expressão pessoal. Um corpo com o qual nos devemos moldar, afeiçoar, ajustar, domesticar. Aproprio o objecto corpo. Pretendo manejá-lo de todas as formas possíveis. Torná-las um elemento “quase” separado do corpo. As pernas apresentam diferentes posturas de um corpo que se pretende revelar em tensão. O intuito é fazê-las ganhar autonomia. Elas pertencem a um só corpo, transformam-se, conquistam leveza.<br /></span><span style="font-size:85%;"><span style="FONT-WEIGHT: bold">Biografia</span></span><br /><span style="font-size:85%;">Marisa do Vale Gonçalves nasceu a 6 de Março de 1984 em Lisboa. Reside entre Caldas da Rainha e Setúbal. Em 2003 frequentou e concluiu com média de 15, o primeiro ano do curso de Pintura no Instituto Politécnico de Tomar, sendo convidada a participar na exposição finalista desse ano. No ano seguinte ingressa na Escola Superior de Artes e Design onde, presentemente, termina licenciatura. Participou em Workshops de Retrato, Performance e Movimento Contemporâneo e colaborou no Caldas Late Night em 2005 e 2006.</span><br /><span style="font-size:85%;"><span style="FONT-WEIGHT: bold"></span></span><br /><br /><span style="FONT-WEIGHT: bold">Marta Machado</span><br /><span style="font-size:85%;">O entretanto:</span><span style="font-size:85%;"> </span><span style="font-size:85%;">Pensar é fechar</span><span style="font-size:85%;"> </span><span style="font-size:85%;">e não pensar</span><span style="font-size:85%;"> </span><span style="font-size:85%;">é correr as cortinas</span><span style="font-size:85%;"> </span><span style="font-size:85%;">mas ela não tem cortinas!</span><span style="font-size:85%;"> </span><span style="font-size:85%;">Despe</span><span style="font-size:85%;"> </span><span style="font-size:85%;">abre uma cova e enterre-as</span><br /><span style="font-size:85%;">Ouço</span><span style="font-size:85%;"> </span><span style="font-size:85%;">nem demora, nem chegada</span><span style="font-size:85%;"> </span><span style="font-size:85%;">mas um quadrado</span><span style="font-size:85%;"> </span><span style="font-size:85%;">um...</span><span style="font-size:85%;"> </span><span style="font-size:85%;">regressar e torcer</span><span style="font-size:85%;"> </span><span style="font-size:85%;">e haver árvores ao fim da rua.</span><br /></span><span style="font-family:georgia;"><span style="FONT-WEIGHT: bold;font-size:85%;" >Biografia<br /></span><span style="font-size:85%;">Marta Machado nasceu no Porto a 29 de Junho de 1983. Entre 2004 e 2005, participou no programa Sócrates e frequentou durante 6 meses a Universidad del País Basco, Faculdad de Bellas Artes. Finalizou a licenciatura de Artes Plásticas na Escola Superior de Arte e Design das Caldas da Rainha, em 2006. Actualmente, tem vindo a desenvolver um projecto artístico que sublinha a estética do preto e branco, utilizando como suporte o vídeo.</span><br /><br /><br /><span style="FONT-WEIGHT: bold">Teresa Mariana Silva</span></span><span style="FONT-WEIGHT: bold;font-family:georgia;" ><br /></span><span style="FONT-WEIGHT: bold;font-family:georgia;font-size:85%;" >HERE ARE YOU, de encontro a ti mesmo<br /></span><span style="font-size:85%;"><br /></span><span style="font-family:georgia;"><span style="font-size:85%;">Ao dialogar com os artistas e os visitantes/participantes construir-se-á um mapa de presenças criativas. Em sinergia, achar-nos-emos entre a Casa do Castelo, a Transforma, a cidade, Torres Vedras, e tudo um pouco de quanto em nós coexiste.</span><br /><span style="FONT-WEIGHT: bold;font-size:85%;" >Biografia</span></span><span style="font-family:georgia;"><span style="font-size:85%;"><br />Mariana é estudante finalista da licenciatura em Animação Cultural na Escola Superior de Artes e Design das Caldas da Rainha. Frequentou a Faculdade de Arquitectura de Lisboa, onde despoletou o interesse pelas problemáticas do espaço público. Cria, preferencialmente, projectos culturais no domínio da arte pública. O seu trabalho procura comunicar a expressão de um inconsciente colectivo, reforçando a autonomia do gesto individual, na mira de uma dinâmica social mais crítica, criativa e participativa.</span><br /><br /><br /><span style="FONT-WEIGHT: bold"></span><br /></span><span style="font-family:georgia;"><span style="COLOR: rgb(153,153,153);font-size:85%;" >The <span style="color:#999999;">privileged character of the space where Uma Casa no Castelo takes place allows an exhibition of different kinds of projects, in terms of approaches, techniques, materials and dimensions. Taking advantage of this exceptional occasion two pedagogical projects were developed by a group of Plastic Arts students and a group of Cultural Animation students from ESAD.CR. Fourteen students and ex-students, finalists on different years, from the Plastic Arts course were invited. The students had the responsibility – as authors – to develop a project within the space lent by Transforma: first, the students analysed the place, understanding its specific characteristics; second, they elaborated site-specific projects, and in loco works. The students who were selected and their works gather a heterogeneous group of pieces – they all have the same common denominator and structure: drawing. The Cultural Animation students – Adélia e Teresa Mariana Silva – had the opportunity to work directly and in strict cooperation with the Plastic Arts students – young artists – having the privilege to observe the creative process of a project’s elaboration and construction. This aspect, normally relegated to a secondary plan, was crucial to plan all the pedagogical and amusement activities, born of the complicity and dialogue between both groups. This means, we tried to develop a project as a whole, in aesthetical and formal terms: to make the student responsible helps him to become autonomous – to teach autonomy – to become active and conscious of the difficulties inherent to the elaboration, presentation and setting phases of an exhibition. In the last few years, it became more evident that ESAD.CR’s pedagogical project consists in following the students and their professional practice during their graduation, but also in supporting the student’s participation in exhibitions and their insertion in the job market.<br /><br /><br /></span></span><span style="color:#999999;"><span style="FONT-WEIGHT: bold; COLOR: rgb(153,153,153)">Adélia Caldeano</span><br /><br /></span></span><span style="COLOR: rgb(153,153,153);font-size:85%;" ><span style="font-family:georgia;color:#999999;">This work was produced for the Projecto Cultural subject taught by: João Miguel Garcia and Nelson Guerreiro; with students from EB1 school of the Encosta do Sol, Special Education School Rainha Leonor and Montepio of Caldas da Rainha Care Home. The objective was to alert for the urgency of preserving the environment, evoking the children’s sympathy, their parents ‘and their grandparents’ one also.</span><span style="font-family:georgia;"><span style="color:#999999;"><span style="FONT-WEIGHT: bold"><br />Biography</span><br />Adélia Caldeano was born on December 29, 1962, in a small village. She finished the obligatory school (6th grade) and started working when she was 14. At the age of 36, already mother of 2 children, she started studying again, while working on the jewellery business. Later, she started working in a school as educational assistant, participating in several educational projects. After finishing basic and secondary school, she did the exams and applied for the Course of Cultural Animation at ESAD. She is now finishing her degree and working as school administrator at the Agrupamento de Escolas D. João II, in Caldas da Rainha.<br /><br /><br /></span></span></span><span style="font-family:georgia;"><span style="color:#999999;"><span style="FONT-WEIGHT: bold; COLOR: rgb(153,153,153)">David Monteiro</span><br /></span></span><span style="font-family:georgia;"><span style="color:#999999;"><span style="COLOR: rgb(153,153,153);font-size:85%;" ><span style="FONT-WEIGHT: bold">Conta-me Histórias!</span><br /><br />I propose to create a network between small drawings, which, once we look at them, send us into a narrative.<br /><span style="FONT-WEIGHT: bold">Biography</span><br />David Monteiro was born in 6 august 1979, in Covilhã. He spent his childhood in Castelo Branco. In 1998 was admitted to ESTGAD Caldas da Rainha and in 2003 he finished his bachelor degree. After interrupting his studies, he started again at ESAD Caldas da Rainha and in 2007 finished his degree in fine arts.<br /></span><br /><br /><span style="FONT-WEIGHT: bold; COLOR: rgb(153,153,153)">Diogo Martins</span><br /></span></span><span style="font-family:georgia;"><span style="color:#999999;"><span style="COLOR: rgb(153,153,153);font-size:85%;" ><span style="FONT-WEIGHT: bold">entre mim e ti só existe um corpo<br /></span></span><br /></span></span><span style="COLOR: rgb(153,153,153);font-size:85%;" ><span style="font-family:georgia;color:#999999;">The photo is the result of a performance that uses matters such as the body, the balance and the gravity. Another body of nature is inhabited: the tree. This constitutes the starting point for all the choreography: a performance in which a body is suspended by a fabric wrapped around a tree trunk, like a bag containing a body.<br />“Nature is a place that should be inhabited. It allows us transcendency moments. Spaces filled by sensations will arise from a close relation between the performer and a body of nature. Metamorphosis processes will emerge from both parts, and they will be visible through a corporeal presence. Rhythms will arouse moments of eminent and immanent desire. Spaces of desire emerge from the cross between what can be said and that which cannot be said. A sensation that can’t be inhabited by the words used to mark a rhythm.”</span><span style="font-family:georgia;"><span style="color:#999999;"><span style="FONT-WEIGHT: bold"><br /></span><span style="FONT-WEIGHT: bold">Biography</span><br /></span></span></span><span style="font-family:georgia;"><span style="color:#999999;"><span style="COLOR: rgb(153,153,153);font-size:85%;" >Diogo Martins, Plastic Artist, was born in 1985, in Lisbon. He holds a degree in Plastic Arts from Escola Superior de Arte e Design das Caldas da Rainha, the city where he lives and works. </span><br /><br /><br /><span style="FONT-WEIGHT: bold; COLOR: rgb(153,153,153)">Eduarda Silva</span><br /><br /></span></span><span style="COLOR: rgb(153,153,153);font-size:85%;" ><span style="font-family:georgia;"><span style="color:#999999;">My work has to do with the feminine identity, its association with the body and coordinates such as fashion, sexuality and love. Fashion is represented by silhouette drawings, fragments of the body and by pattern drawings, and it is also an allusion to fabrics. Within this context there’s also the way all of this is put on paper; the drawings are carefully embroidered. They remind us of the needlework or handwork normally made by women, those wonderful housewives. The concept ‘sexuality’ sparks of another kind of conflict, that of pain and violence, of love as a surgery (quoted from Simone de Beauvoir’s Le Deuxième Sexe). If embroidery makes us wonderful housewives, sexuality make us prostitutes or objects of desire. My drawings are based on a embroidery made on perforated paper, where the white thread over the white paper draws, in a sober and silent way, pain and rage, which is represented by red patches dripping trough the paper as blood trough the wounded skin. The white and red colours are ways of creasing the body. The feminine figure is marked by silence, absence and rage; red patches draw rage and violence, embroidery draws silence.<br /><span style="FONT-WEIGHT: bold">Biography</span></span></span></span><span style="font-family:georgia;"><span style="color:#999999;"><span style="COLOR: rgb(153,153,153);font-size:85%;" ><br />Eduarda Silva was born in Caldas da Rainha, in 1981, where she lives and works. In 2004 she finished her degree in Plastic Arts from ESAD das Caldas da Rainha. She does her work from a feminist perspective related to the art identity. At the same tima, she is developing a project on contemporary handicraft.<br /><br /><br /></span><span style="FONT-WEIGHT: bold; COLOR: rgb(153,153,153)">Eduardo Malé</span><br /><span style="FONT-WEIGHT: bold">Ambientar</span></span></span><span style="FONT-WEIGHT: bold;color:#999999;" ><br /><br /></span><span style="font-family:georgia;"><span style="color:#999999;"><span style="COLOR: rgb(153,153,153);font-size:85%;" >The subject ‘where are you?’ provides a basis for the Ambientar project, which reflects preoccupations far beyond the memories of the inhabited space of Casa do Castelo, far beyond the geographical space of Torres Vedras. This project is situated in the framework of the world-wide ecological debate, especially on global warming and dryness. This work has in its genesis the human frailty. Its speech based on the law of matter conservation formulated by the chemist Antoine Lavoisier “nothing is lost, everything is transformed” and chooses recycling as a process and paper as a medium (matter).<br /><span style="FONT-WEIGHT: bold">Biography</span><br /></span><span style="COLOR: rgb(153,153,153);font-size:85%;" >Eduardo Malé was born in São Tomé, in 1973. He has qualifications in Drawing, Painting and Art History from Sociedade Nacional de Belas Artes e Design and a qualification in Product Design from Escola de António Arroio, in Lisbon. He has a degree in Plastic Arts from ESAD.CR. Author, producer and director of the animated cinema project CinemAcção. He directed the animated film “táxi amarelo” (“yellow taxi”). During one an a half years, he worked at Zoran Smilianic’s painting studio, in Lisbon. He developed Plastic Arts’ projects, while working as an OTL instructor, in Caselas, Lisbon, and at the European Union's Pavilion at Expo 98. He taught Visual and Technological Education at Escola Básica do 1º e 2º ciclos Mouzinho de Albuquerque, in Batalha. It participated in the Projecto Experimentação 01, as entertainer of the Workshop of initiation to Drawing for youngsters and children, respectively in the II and III International Biennial of Art and Culture, in S.Tomé e Príncipe - 2002/2004. He is Plastic Expression entertainer at Escolas Básicas do 1º. Ciclo de Marrazes e Quinta do Alçada, Leiria, within the Project MUS-E, from the International Yehudi Menuhin Foundation, headquartered in Brussels. He participated in more than forty individual and collective exhibitions. </span></span></span><span style="COLOR: rgb(153,153,153)"><br /><br /><br /></span><span style="font-family:georgia;"><span style="color:#999999;"><span style="COLOR: rgb(153,153,153)"><span style="FONT-WEIGHT: bold">Filipe Frazão + Marisa Teixeira</span></span><br /><br /></span></span><span style="font-family:georgia;font-size:85%;color:#999999;">A drawing that fills and represents architectonic fragments. A programmed light activates those fragments. Both reveal, destroy and reconstruct a new space, inhabiting it within a specific temporality.<br /><span style="FONT-WEIGHT: bold">Biographies</span><br /></span><span style="COLOR: rgb(153,153,153);font-size:85%;" ><span style="font-family:georgia;"><span style="color:#999999;"><span style="FONT-WEIGHT: bold">Filipe Frazão</span><br /></span></span></span><span style="COLOR: rgb(153,153,153);font-size:85%;" ><span style="font-family:georgia;color:#999999;">He was born in Caldas da Rainha, in 1984. He lives and works in Caldas da Rainha. In 2006, he participated in the Erasmus Program and attended the UCE (University of Central England), Birmingham, UK. That same year he collaborated on the International Biennale of Light, Luzboa. He finished his degree in Plastic Arts from ESAD.CR in 2007.</span><span style="FONT-WEIGHT: bold;font-family:georgia;color:#999999;" ><br /></span></span><span style="COLOR: rgb(153,153,153);font-size:85%;" ><span style="font-family:georgia;"><span style="color:#999999;"><span style="FONT-WEIGHT: bold">Marisa Teixeira</span><br /></span></span></span><span style="font-family:georgia;font-size:85%;color:#999999;">She was born in Leiria, in 1984. She lives and works in Caldas da Rainha. In 2006, she collaborated on the International Biennale of Light, Luzboa. She finished her degree in Plastic Arts from ESAD.CR in 2007.<br /><br /><br /></span><span style="COLOR: rgb(153,153,153)"><span style="FONT-WEIGHT: bold;font-family:georgia;color:#999999;" >Ivan Barroso<br /><br /></span></span><span style="font-family:georgia;font-size:85%;color:#999999;">I propose a sensitive and ephemeral interpretation on the subject 'Where are you? Onde estás?'. I create a dialogue between the drawing’s bidimensionality and the sculpture’s tridimensionality. I wish to combine the possibilities of my artistic gesture to the physical energy of the place, having the wall as a basis for work.<br /><span style="FONT-WEIGHT: bold">Biography</span><br />Ivan Barroso was born in Lisbon, in 1980. He has a degree in Plastic Arts from Escola Superior Artes e Design das Caldas da Rainha. He attended several artistic specialization courses and workshops. He’s a freelancer and a teacher. He participates regularly, since 200, in collective and individual exhibitions, in Portugal.<br /><br /><br /></span><span style="COLOR: rgb(153,153,153)"><span style="FONT-WEIGHT: bold;font-family:georgia;color:#999999;" >Jorge Reis<br /></span><span style="font-size:85%;"><br /></span></span><span style="font-family:georgia;"><span style="color:#999999;"><span style="COLOR: rgb(153,153,153);font-size:85%;" >After observing Torie Begg’s works, I came to a conclusion. I noticed that was all about objectifying painting. There was a refusal to confine painting to a canvas. All the attention was drawn to the picture’s edges. The dripped edge of the canvas is emphasised because there’s no subject matter on the canvas. This made me think, and I understood that the paint was trying to become independent from the canvas, and I finished my interpretation with a question: ‘which are the minimum requirements to do a painting?, and I answered ‘If the paint wants to become independent from the canvas, it’s because it’s an element that wants to detach from the academic canonical concepts’.</span><span style="COLOR: rgb(153,153,153);font-size:85%;" > </span></span></span><span style="font-family:georgia;"><span style="color:#999999;"><span style="COLOR: rgb(153,153,153);font-size:85%;" >I decided to present this situation: a patch of paint that seems to be left accidentally in the space. This accidental aspect dissociates from any representation intention. Considering this accidental aspect, the spectator can never say that it was made on purpose. The canvas isn’t invoked here, there’s just an accidental patch of paint. The canvas is rejected, but the spectator doesn’t see that rejection. The moment the spectator sees the patch, he feels the unexpected, and the surprise, because it looks accidental and because of its relation with the space. The space is a very important feature of this project. It allows me to put aside all the regular representations of painting, sharing the same relation that was present in the American minimalism and conceptualism of the 60’s and 70’s. The work-space relation is now the experimental matrix of my work.<br /></span><span style="FONT-WEIGHT: bold">Biography</span></span></span><span style="font-family:georgia;"><span style="color:#999999;"><span style="FONT-WEIGHT: bold"><br /></span><span style="COLOR: rgb(153,153,153);font-size:85%;" >Jorge Reis was born in Gafanha da Encarnação.</span><span style="COLOR: rgb(153,153,153)"> </span><span style="COLOR: rgb(153,153,153);font-size:85%;" >He holds a degree in Plastic Arts from Escola Superior de Arte e Design das Caldas da Rainha. In 2004 he participated on the first exhibition made on the space “Rotunda Luminosa”, in Caldas da Rainha, presenting a drawing project within the exhibition “Ping-Pong”, an initiative coordinated by an ESAD’s professor: Jorge Feijão. In 2005 he was nominated in two categories of the “Jovem Criador Aveiro 05” contest: Painting and Digital Art. In 2007, he was invited to send a video to London International Creative Competition.</span></span></span><span style="font-family:georgia;"><span style="color:#999999;"><span style="COLOR: rgb(153,153,153);font-size:85%;" ><br /></span><br /><br /></span></span><span style="font-family:georgia;"><span style="color:#999999;"><span style="FONT-WEIGHT: bold; COLOR: rgb(153,153,153)">Lucas Almeida<br /></span><br /><span style="COLOR: rgb(153,153,153);font-size:85%;" >I started to draw on the marble and some questions came during the process. I started to reveal the inner richness of the marble, but then I start feeling that I wasn't expressing myself, that it had no "gesture", so I tried to adapt to that deepness of textures and colours existent on that table. I tried to find the balance between shapes and gesture, give strength and energy, in that subtle matter that exists behind the surface.</span></span></span><span style="font-family:georgia;"><span style="color:#999999;"><span style="FONT-WEIGHT: bold"><br /></span><span style="FONT-WEIGHT: bold">Biography</span><br /><span style="COLOR: rgb(153,153,153);font-size:85%;" >Since he was very young, Lucas got in touch with the plastic expression materials and got immediately fascinated by artistic creation. He grew up being influenced by several creative areas, like comics and animation movies. He was destined to become an artist. He studied arts in secondary school and in ESAD.CR, where he had 5 years of research and experimenting.</span><span style="COLOR: rgb(153,153,153);font-size:85%;" > </span></span></span><span style="COLOR: rgb(153,153,153)"><br /></span><br /><br /><span style="font-family:georgia;"><span style="color:#999999;"><span style="COLOR: rgb(153,153,153)"><span style="FONT-WEIGHT: bold">Luís Simões + Rita Manuel</span></span><span style="COLOR: rgb(153,153,153)"> </span></span></span><span style="COLOR: rgb(153,153,153);font-size:85%;" ><br /></span><span style="font-family:georgia;font-size:85%;color:#999999;">The fact that the garden is abandoned provokes an anxiety reaction also felt in the house, due to its lifeless. However, the water pump’s presence may return to this place a memory of its experiences, along with the regeneration and restoration of the natural space.</span><span style="font-family:georgia;"><span style="color:#999999;"><span style="FONT-WEIGHT: bold"><br /></span><span style="FONT-WEIGHT: bold">Biography</span><br /></span></span><span style="font-family:georgia;"><span style="color:#999999;"><span style="COLOR: rgb(153,153,153);font-size:85%;" >Rita Manuel and Luís Simões live and work in Caldas da Rainha. They recently finished their degree on Plastic Arts from ESAD.CR. They work together, since the beginning of 2007. Their work has developed contextually, considering place and its characteristics, proposing reflections about the way man relates natural space to cultural space.<br /></span><br /><br /><span style="COLOR: rgb(153,153,153)"><span style="FONT-WEIGHT: bold">Marisa Gonçalves</span></span><span style="COLOR: rgb(153,153,153)"> </span><br /><span style="COLOR: rgb(153,153,153);font-size:85%;" >First of all, my work is about a part of the body: the legs. I intend to draw people’s attention to a part of the body that we usually don’t look at or contemplate. Nowadays the face is the centre of people’s attention. They forget that they rely on a very important part of their body. The legs and the feet support our weight and “transport” us; they allow us to move freely so we can be independent of the others.</span><span style="COLOR: rgb(153,153,153);font-size:85%;" > </span><span style="COLOR: rgb(153,153,153);font-size:85%;" >The graphite powder gives it the expressiveness I want. It shapes, rounds, turns, outlines and transforms. They show their volume through the use of black shades, which amplify their expression. I value their importance, their function, their aesthetic. The body it’s our only way of personal expression. A body that we should shape, become fond of, adjust, tame. I appropriate the object body. I intend to handle it in as many ways as possible. To make them an element “almost” separate from the body. The legs show different postures of a tense body. The intention is to make them gain autonomy. They belong to a unique body, transform themselves, and win lightness.</span><br /></span></span><span style="font-family:georgia;"><span style="color:#999999;"><span style="COLOR: rgb(153,153,153);font-size:85%;" ><span style="FONT-WEIGHT: bold">Biography</span><br /></span><span style="COLOR: rgb(153,153,153);font-size:85%;" >Marisa do Vale Gonçalves was born on March 6, 1984, in Lisbon.</span><span style="COLOR: rgb(153,153,153);font-size:85%;" > She lives in Caldas da Rainha and Setúbal. In 2003, she attended and finished the first year of the Painting Course at Instituto Politécnico de Tomar. That same year she was invited to participate in the final-year students’ exhibition. The next year she attended the Escola Superior de Artes e Design, and she is now finishing her graduation. She participated in Portrait, Performance and Contemporary Movement Workshops and collaborated on Caldas Late Night in 2005 and 2006.</span><br /><br /><br /><span style="FONT-WEIGHT: bold; COLOR: rgb(153,153,153)">Marta Machado</span><span style="COLOR: rgb(153,153,153)"> </span></span></span><span style="COLOR: rgb(153,153,153)"><br /></span><span style="font-family:georgia;"><span style="color:#999999;"><span style="COLOR: rgb(153,153,153);font-size:85%;" >The meanwhile:</span><span style="COLOR: rgb(153,153,153);font-size:85%;" > </span><span style="COLOR: rgb(153,153,153);font-size:85%;" >To think is to close</span><span style="COLOR: rgb(153,153,153);font-size:85%;" > </span><span style="COLOR: rgb(153,153,153);font-size:85%;" >and not to think</span><span style="COLOR: rgb(153,153,153);font-size:85%;" > </span><span style="COLOR: rgb(153,153,153);font-size:85%;" >is to close the curtains</span><span style="COLOR: rgb(153,153,153);font-size:85%;" > </span><span style="COLOR: rgb(153,153,153);font-size:85%;" >but she has no curtains</span><span style="COLOR: rgb(153,153,153);font-size:85%;" > </span><span style="COLOR: rgb(153,153,153);font-size:85%;" >Take it off</span><span style="COLOR: rgb(153,153,153);font-size:85%;" > </span><span style="COLOR: rgb(153,153,153);font-size:85%;" >open a hollow and bury them</span><span style="COLOR: rgb(153,153,153);font-size:85%;" > </span><span style="COLOR: rgb(153,153,153);font-size:85%;" >I hear</span><span style="COLOR: rgb(153,153,153);font-size:85%;" > </span><span style="COLOR: rgb(153,153,153);font-size:85%;" >neither delay, nor arrival</span><span style="COLOR: rgb(153,153,153)"> </span><span style="COLOR: rgb(153,153,153);font-size:85%;" >but one square</span><span style="COLOR: rgb(153,153,153);font-size:85%;" > </span><span style="COLOR: rgb(153,153,153);font-size:85%;" >one</span><span style="COLOR: rgb(153,153,153);font-size:85%;" > </span><span style="COLOR: rgb(153,153,153);font-size:85%;" >to return and to twist</span><span style="COLOR: rgb(153,153,153);font-size:85%;" > </span><span style="COLOR: rgb(153,153,153);font-size:85%;" >and to trees at the end of the street.</span></span></span><span style="font-family:georgia;"><span style="color:#999999;"><span style="FONT-WEIGHT: bold"><br /></span><span style="FONT-WEIGHT: bold">Biography</span><br /><span style="COLOR: rgb(153,153,153);font-size:85%;" >Marta Machado was born on June 29, 1983, in Porto. From 2004 to 2005, she participated in the Socrates Program and attended the Universidad del País Basco, Faculdad de Bellas Artes during 6 month period. In 2006, she finished her graduation on Plastic Arts at Escola Superior de Arte e Design das Caldas da Rainha. Now she is developing a project which stresses the black and white aesthetic, using video.</span><span style="COLOR: rgb(153,153,153);font-size:85%;" > </span></span></span><span style="COLOR: rgb(153,153,153)"><br /></span><br /><br /><span style="COLOR: rgb(153,153,153)"><span style="FONT-WEIGHT: bold;font-family:georgia;color:#999999;" >Teresa Mariana Silva</span></span><span style="FONT-WEIGHT: bold;font-family:georgia;color:#999999;" ><br /></span><span style="COLOR: rgb(153,153,153)"><span style="FONT-WEIGHT: bold;font-family:georgia;font-size:85%;color:#999999;" >HERE ARE YOU, de encontro a ti mesmo<br /></span><span style="font-size:85%;"><br /></span></span><span style="font-family:georgia;font-size:85%;color:#999999;">A map of creative presences will be created through a dialogue with the artists and the visitors/participants.<br /></span><span style="color:#999999;"><span style="font-family:georgia;"><span style="COLOR: rgb(153,153,153);font-size:85%;" >Together, we will find ourselves somewhere between the Casa do Castelo, Transforma, the city, Torres Vedras, and that little something that coexists within us.<br /></span><span style="FONT-WEIGHT: bold">Biography</span><br /></span><span style="COLOR: rgb(153,153,153)"><span style="font-family:georgia;font-size:85%;">Mariana is finishing her degree on Cultural Animation at Escola Superior de Artes e Design das Caldas da Rainha. She attended the Faculdade de Arquitectura de Lisboa, where she sparked off the interest in public space problematic. She creates, mainly, public art projects. Her work intends to comunicate the expression of a collective unconscious, stressing the autonomy of the individual gestures, in the hope of a much more critic, creative and participative social dynamic. </span></span><br /></span><span style="COLOR: rgb(153,153,153)"><span style="font-family:georgia;font-size:85%;"><br /><br /></span></span><span style="COLOR: rgb(153,153,153)"><span style="font-family:georgia;font-size:85%;"></span></span><br /><span style="COLOR: rgb(153,153,153)"><span style="font-family:georgia;"><strong><span style="color:#000000;">Fotos <span style="color:#999999;">Photos</span>:</span></strong> </span></span><br /></span><div><div><div><div><div><div><div><div><div><div><div><div><div><div><div><div><div><div><div><div><div><div><div><div><div> </div><div><br /><div><img id="BLOGGER_PHOTO_ID_5134528338966961378" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJG-CuOyUg2stAg0YirtT6_wtGwbxgfePQ9M9i7C4xhYsjN4m1kB9rVtSOFiOuK0UaXfBXjZi2COEh0ZAxHVG9QmFSGDA7mcmxnXTgnnzK5Zxv8qr_abPtueF2vEXcFp5YpzRUyXf2niA-/s200/03_11(2).jpg" border="0" /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqFcAgMMlr5rwL5UJspXhckhgJ2oKxH0p2Eh3dsZ5wtyReUtccS2w_CQ_pzGqUsa88I4-7jU6wN7C6A3hsoeqaGa7CwuyVnu4t-kPQfXH-MNJvS8PORwMn9QaHLioPslvlr9lptzXIo8B0/s1600-h/IMG_1465.JPG"><img id="BLOGGER_PHOTO_ID_5134525581597957314" style="FLOAT: left; 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MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbyRt8AETnfqb9nNwcGjzlcQqzg72K-jvAHMxul6_cZdC_HWNgAdu0CTtJ98e2iLJaYNB1-8BK9LJQaMmxilI1LWFEfTmcCPiI9ApH0XGrM-leM8Ehmbh3ClLkaBWuydrirR-iKDnMCgOa/s200/DSC00141.jpg" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh44btvJjJ9rEwQhhZm2fczsxY0zT6PPq1U5M1zviwz9-4yCA2DbXbwT7Qkt3Zs_XUhzxXwAuFHqKSjARpz_aiYuVTnHPNgbmUrm8RT7rosANPc0qr3S1kGt6Ts6UYraLxpxVpByvvrmWq1/s1600-h/DSC00142.jpg"><img id="BLOGGER_PHOTO_ID_5135628632278786930" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh44btvJjJ9rEwQhhZm2fczsxY0zT6PPq1U5M1zviwz9-4yCA2DbXbwT7Qkt3Zs_XUhzxXwAuFHqKSjARpz_aiYuVTnHPNgbmUrm8RT7rosANPc0qr3S1kGt6Ts6UYraLxpxVpByvvrmWq1/s200/DSC00142.jpg" border="0" /></a><img id="BLOGGER_PHOTO_ID_5133485201140282530" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0FGOopVA_9hNzHU9afdjAOv2-bveqx5QiSIFchQWOIoDitEhT_7UH_lF-VTzMnT2ielRqsS8pVUuwgJCdENbIjHsW-GOcMTDj_tVC74FX_CtYEbG8jBf3xxWPcutsyTu9R84Ge_AzGWYt/s200/1.jpg" border="0" /><br /><br /><br /><br /><br /><br /><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0FGOopVA_9hNzHU9afdjAOv2-bveqx5QiSIFchQWOIoDitEhT_7UH_lF-VTzMnT2ielRqsS8pVUuwgJCdENbIjHsW-GOcMTDj_tVC74FX_CtYEbG8jBf3xxWPcutsyTu9R84Ge_AzGWYt/s1600-h/1.jpg"></a></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div>Transformahttp://www.blogger.com/profile/11139847328945551611noreply@blogger.com0tag:blogger.com,1999:blog-4488264026585420216.post-83382726777528795392007-11-01T08:37:00.000+00:002008-11-13T22:22:02.782+00:00<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbbEsYNrPuzBWCO970V1gWmXwpXFlsCcuEaFFnZeV6FZ-9mdgxQM48mKDsmVk7TyUM1Q7V8Qlq9uhqwLjukgW-1gVGg3ITD96zdYI8se0ftHuEsc6UcLsSleE3zGIOpLOwBpMcuB6IF4sK/s1600-h/FOTOLABIRINTO_PB.jpg"><span style="font-family:georgia;"><img id="BLOGGER_PHOTO_ID_5127797821488935234" style="FLOAT: left; MARGIN: 0pt 10px 10px 0pt; CURSOR: pointer" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbbEsYNrPuzBWCO970V1gWmXwpXFlsCcuEaFFnZeV6FZ-9mdgxQM48mKDsmVk7TyUM1Q7V8Qlq9uhqwLjukgW-1gVGg3ITD96zdYI8se0ftHuEsc6UcLsSleE3zGIOpLOwBpMcuB6IF4sK/s400/FOTOLABIRINTO_PB.jpg" border="0" /></span></a><span style="font-family:georgia;"><br /><span style="font-size:100%;"><span style="FONT-WEIGHT: bold">O LABIRINTO A MORTE E O PÚBLICO</span> </span></span><span style="font-size:85%;"><span style="font-family:georgia;">performance/dança <span style="COLOR: rgb(153,153,153)"> performance/dance</span><br /></span><span style="font-family:georgia;"><span style="font-size:100%;"><span style="FONT-WEIGHT: bold">João Samões (PT)</span><br /></span>20, 21 Out – 21h30 <span style="COLOR: rgb(153,153,153)"> 20th, 21st Oct – 9:30pm</span><br />Transforma, Praça do Município - 8, Torres Vedras<br /><br /><span style="FONT-WEIGHT: bold">O LABIRINTO A MORTE E O PÚBLICO</span> tem uma estrutura ritualista que explora e rompe com a clássica relação entre observador/obra, colocando o público num fluido movimento entre a contemplação e a participação activa na construção da peça e na transformação/metamorfose do espaço cénico.</span></span><span style="font-family:georgia;font-size:85%;"><br />Num espaço e num tempo cúmplice; os criadores, o público, e um modelo anatómico de esqueleto humano interagem e reflectem sobre o carácter efémero do corpo, numa abordagem simbiótica entre uma experiência de acção no domínio do gesto e da presença e a comunicabilidade do espaço cénico no domínio dos signos e dos sentidos.<br />O meu trabalho assenta sempre num número muito restrito de variáveis. Nesta peça, toda a iconografia se instala sob o signo do efémero e do transitório. Assim como as palavras que acabámos de trocar se dissipam, mais aqui não fica do que um rasto de pó a vibrar na nossa memória.<br />Ossos do ofício. Assumimos o mistério das coisas.<br />Este teatro está incompleto até que tu estejas presente. </span><div style="TEXT-ALIGN: right"><span style="font-family:georgia;"><span style="font-size:85%;">João Samões</span> </span></div><br /><br /><br /><span style="font-family:georgia;"><span style="font-size:85%;">concepção, direcção artística e espaço cénico <span style="FONT-WEIGHT: bold">João Samões</span> / interpretação <span style="FONT-WEIGHT: bold">João Samões, João Galante</span> / colaboração dramatúrgica <span style="FONT-WEIGHT: bold">Fernando Aguiar</span> / intérprete convidada <span style="FONT-WEIGHT: bold">Renata Catambas</span> (Torres Vedras) / som <span style="FONT-WEIGHT: bold">Jack Goldstein</span> (Two wrestling cats, The tornado-1976/ The murder-1977) <span style="FONT-WEIGHT: bold">Blind Willie Johnson</span> (Dark was the night Cold was the ground-1927) / desenho de luz e direcção técnica <span style="FONT-WEIGHT: bold">Bruno Gaspar</span> / ideia original, investigação técnicas de inclusão do público <span style="FONT-WEIGHT: bold">João Samões, Sergi Faustino</span> / produção executiva <span style="FONT-WEIGHT: bold">O Rumo do Fumo</span> (Lisboa) / co-produção <span style="FONT-WEIGHT: bold">CCB/projecto Box Nova</span> (Lisboa), <span style="FONT-WEIGHT: bold">Transforma AC</span> (Torres Vedras) / residências artísticas <span style="FONT-WEIGHT: bold">Transforma AC</span> (Torres Vedras),<span style="FONT-WEIGHT: bold"> CAPa</span> (Faro) / apoios <span style="FONT-WEIGHT: bold">DeVIR/CAPa</span> (Faro), <span style="FONT-WEIGHT: bold">Espaço do Urso e dos Anjos</span> (Lisboa), <span style="FONT-WEIGHT: bold">Balleteatro</span> (Porto), <span style="FONT-WEIGHT: bold">Casa D´os Dias da Água</span> (Lisboa), <span style="FONT-WEIGHT: bold">CENTA </span>(Vila Velha de Ródão) / </span><span style="font-size:85%;">Projecto Financiado pelo <span style="FONT-WEIGHT: bold">Ministério da Cultura</span> <span style="FONT-WEIGHT: bold">/ DGArtes</span> </span></span><span style="font-family:georgia;font-size:85%;">duração: 60 Minutos <span style="FONT-WEIGHT: bold">Agradecimentos</span>: Vera Mantero, Cátia Mateus, Patrícia Romão, Luís Firmo, Rui Silveira, Marta Vieira, Tiago Miranda, Mónia Mota, José Laginha, Ana e Carolina Rufino, casaBranca.AC, Graça Passos, Daniel Tércio, Lúcia Sigalho.<br /><br /><span style="FONT-WEIGHT: bold">Biografias</span><br /></span><span style="font-size:85%;"><span style="font-family:georgia;"><span style="FONT-WEIGHT: bold">João Samões </span>(1970) Estudou Antropologia na F.C.S.H. da Universidade Nova de Lisboa entre 1992 e 1995. Estudou técnicas de corpo, improvisação e composição em Lisboa e Nova Iorque. Bolseiro do Ministério da Cultura para estudos na área da Dança contemporânea em Nova Iorque em 2000. Colaborou como actor/performer com a Companhia de Teatro Olho (“Humanauta” 1994/ ”Guerreiro” 1995/ ”Disrupção” 1996) e o Grupo de performance Canibalismo Cósmico (“Anjos” 1991/”Refeição ocre sobre azul” 1992/”Cristal” 1993/ ”Transfere” 1994/”Redondo” 1995). Foi intérprete e co-criador em trabalhos dos coreógrafos João Galante e Teresa Prima (“Castanho...” 1996/ ”Golpe de sorte...” 1997), Francisco Camacho (“Gust” 1997 / “More” 1998), Vera Mantero (“Um estar aqui cheio” 2001 / “ ” 2002). Os seus trabalhos como intérprete e criador foram apresentados em Portugal (Lisboa, Porto, Évora, Torres Vedras, Castelo branco, Coimbra, Famalicão, Faro), Espanha (Santiago de Compostela, Barcelona), França (Paris, Marselha, Montpellier, Brest), Itália (Turim, Polverigi), Bélgica (Bruxelas) e Áustria (Salsburgo, Viena). Em 1998, foi convidado para o encontro de Improvisação “Crashlanding”, organizado em Lisboa por Meg Stuart (Damaged goods) & Christine DeSmedt & David Hernandez com as (ex) Danças na Cidade (actualmente Alkantara). Em 1999 foi assistente de coreografia no solo “Vertigem” da bailarina Paula Castro. Em 2001, colabora como performer na peça “Categoria 3.1” do actor e encenador Paulo Castro, criada e apresentada no Hospital Psiquiátrico do Conde Ferreira, no âmbito do evento “Elogio da Loucura” (Porto 2001 - Capital Europeia da Cultura) e em 2003 como actor na peça “A morte de Danton”. Em 2000, coreografa e interpreta o solo «18 Minutos» (seria como fogo numa fogueira teria aquela atracção de algo a mover-se numa sala enquanto tu pensas noutra coisa qualquer), uma homenagem a Marcel Duchamp. Em 2004, cria o dueto «Zones of Noise Influence». Em 2007, estreia em Lisboa a nova criação «O Labirinto a Morte e o Público».<br /><span style="FONT-WEIGHT: bold">João Galante</span> (1968)<br />Estudou Artes Plásticas, Teatro e Dança. Colaborou regularmente como actor/performer com a Companhia de Teatro Olho (“El…”, “Zona”, “Anoz”, “DQ…”- encenador João Garcia Miguel). Como intérprete de dança, trabalhou com Madalena Victorino, Rui Nunes, Sílvia Real, Vera Mantero, Filipa Francisco, Francisco Camacho, Paula Castro, Carlota Lagido e João Samões. Como coreógrafo, desenvolveu algum do seu trabalho em conjunto com Teresa Prima, de onde destaca as peças: “À espera do raio” (1994), “O céu fica por cima” (1995), “Contra a morte” (1996), “Castanho é a cor da alma do meu verdadeiro amor” (1996), “Um golpe de sorte numa mera crise não é o suficiente” (1997), “Voodoo story” (1998), “Babylónia” (1998), “Nova Babylónia” (2002). Em 1998, coreografou o solo “Pas Mal”, interpretado por Madalena Victorino. Em 2000, criou o solo “S. Freud, o terceiro ouvido” com o qual ganhou uma menção honrosa do Prémio Acarte- Maria Madalena de Azeredo Perdigão. Em 2001, criou o solo “Hunny Bunny, o Lamento da Rosa” e, em conjunto com o artista plástico Paulo Mendes, o projecto de instalação/performance “Copy. Paste” no contexto do Porto 2001-Hospital Psiquiátrico Conde Ferreira. Em 2002, criou em parceria com Ana Borralho a performance “Mistermissmissmister”, “I love you” (2003) e “No body never mind. 001” (2003), “No body never mind.002” (2005). Em 2006, criou com Ana Borralho, a terceira e última parte da trilogia “NBNM”, a peça “No body never mind.003”, em estreita colaboração com o artista de som japonês Atsushi Nishijima, e a performance/instalação “SexyMF”. É membro fundador da associação cultural casaBranca.AC.<br /><br /><br /></span></span><span style="COLOR: rgb(153,153,153);font-size:85%;" ><span style="font-family:georgia;"><span style="FONT-WEIGHT: bold">THE LABYRINTH, DEATH AND THE AUDIENCE</span> has a ritualistic structure that explores and breaks with the classical relationship between observer / performance, while placing the audience in a fluid movement between contemplation and active participation in the transformation / metamorphosis of the set.<br />The audience, the performers and an anatomical model of a human skeleton, all accomplices in time and space, interact and reflect upon the ephemeral and transitory nature of the body, in a symbiotic approach to an experience of action in terms of gesture and presence and the communicability of the set within the domain of signs and senses.<br />My work is always grounded in a very restricted number of variables. In this performance, the entire iconography is established in the ephemeral and transitory. Just as the words we’ve just said vanish, nothing more than a trace of dust vibrating in our memory remains. We assume the mystery of things. Without your presence, this theatre is incomplete. </span></span><div style="COLOR: rgb(153,153,153); TEXT-ALIGN: right"><span style="font-family:georgia;"><span style="font-size:85%;">João Samões</span> </span></div><span style="COLOR: rgb(153,153,153);font-family:georgia;font-size:85%;" >conception, artistic direction and set design <span style="FONT-WEIGHT: bold">João Samões</span> / performance <span style="FONT-WEIGHT: bold">João Samões, João Galante</span> / dramaturgic collaboration <span style="FONT-WEIGHT: bold">Fernando Aguiar</span> / local guest performer <span style="FONT-WEIGHT: bold">Renata Catambas</span> (Torres Vedras) / sound <span style="FONT-WEIGHT: bold">Jack Goldstein</span> (Two wrestling cats, The tornado-1976/ The murder-1977)<span style="FONT-WEIGHT: bold"> Blind Willie Johnson</span> (Dark was the night Cold was the ground-1927) / light design and technical <span style="FONT-WEIGHT: bold">Bruno Gaspar</span> / original idea, research on audience participation techniques <span style="FONT-WEIGHT: bold">João Samões, Sergi Faustino</span> / executive production <span style="FONT-WEIGHT: bold">O Rumo do Fumo</span> (Lisbon) / co-production <span style="FONT-WEIGHT: bold">CCB/Programme Box Nova</span> (Lisbon), <span style="FONT-WEIGHT: bold">Transforma AC</span> (Torres Vedras) / artistic residence <span style="FONT-WEIGHT: bold">Transforma AC</span> (Torres Vedras), <span style="FONT-WEIGHT: bold">CAPa</span> (Faro) / support <span style="FONT-WEIGHT: bold">DeVIR/CAPa </span>(Faro), <span style="FONT-WEIGHT: bold">Espaço do Urso e dos Anjos</span> (Lisbon), <span style="FONT-WEIGHT: bold">Balleteatro</span> (Porto), <span style="FONT-WEIGHT: bold">Casa D´os Dias da Água</span> (Lisbon), <span style="FONT-WEIGHT: bold">CENTA</span> (Vila Velha de Ródão) / </span><span style="COLOR: rgb(153,153,153);font-size:85%;" ><span style="font-family:georgia;">Project financed by the Portuguese </span><span style="FONT-WEIGHT: bold;font-family:georgia;" >Ministry of Culture / DGArtes<br /></span></span><span style="font-family:georgia;"><span style="COLOR: rgb(153,153,153);font-size:85%;" >duration: 60 Minutes</span><span style="COLOR: rgb(153,153,153)"> </span></span><span style="COLOR: rgb(153,153,153);font-size:85%;" ><span style="font-family:georgia;"><span style="FONT-WEIGHT: bold">Acknowledgements</span>: Vera Mantero, Cátia Mateus, Patrícia Romão, Luís Firmo, Rui Silveira, Marta Vieira, Tiago Miranda, Mónia Mota, José Laginha, Ana e Carolina Rufino, casaBranca.AC, Graça Passos, Daniel Tércio, Lúcia Sigalho, Luciana Fina.</span><span style="FONT-WEIGHT: bold;font-family:georgia;" ><br /></span><span style="FONT-WEIGHT: bold"><br /><span style="font-family:georgia;">Biographies</span></span><span style="font-family:georgia;"><span style="FONT-WEIGHT: bold"><br /></span><span style="FONT-WEIGHT: bold">João Samões </span>(1970) He studied Anthropology at the F.C.S.H of the Universidade Nova de Lisboa between 1992 and 1995. He also studied body, improvisation and composition techniques in Lisbon and New York - in the year 2000, on a scholarship from the Ministry of Culture for the area of Contemporary Dance. As an actor / performer, he has collaborated with the Theatre Company Olho (“Humanauta” 1994/ ”Guerreiro” 1995/ ”Disrupção” 1996) and the performance group Canibalismo Cósmico (“Anjos” 1991/ ”Refeição ocre sobre azul” 1992/ ”Cristal” 1993/ ”Transfere” 1994/ ”Redondo” 1995). As a performer and co-creator, he has worked in performances of the choreographers João Galante and Teresa Prima (“Castanho...” 1996/ ”Golpe de sorte...” 1997), Francisco Camacho (“Gust” 1997 / “More” 1998) and Vera Mantero (“Um estar aqui cheio” 2001 / “ ” 2002). His work, as a performer and creator, has been presented in Portugal (Lisbon, Porto, Évora, Torres Vedras, Castelo Branco, Coimbra, Famalicão, Faro), Spain (Santiago de Compostela, Barcelona), France (Paris, Marseille, Montpellier, Brest), Italy (Turim, Polverigi), Belgium (Brussels) and Austria (Salszburg, Vienna). In 1998 he was invited to take part in the improvisation meeting “Crashlanding” in Lisbon, organised by Meg Stuart (Damaged goods) & Christine DeSmedt & David Hernandez and (the former) Danças na Cidade (at present, Alkantara). In 1999, he worked as an assistant in the choreography of the solo “Vertigem”, by the dancer Paula Castro. In 2001, he collaborated as a performer in the play “ Categoria 3.1”, staged by Paulo Castro, which was conceived and presented at the Conde Ferreira Psychiatric Hospital, within the framework of the event “Elogio da Loucura” [Praise of Folly] (Porto 2001 – European Capital of Culture). In 2003, he worked as an actor in the play “ A morte de Danton”, also staged by Paulo Castro. In 2000, he created and performed the solo “18 MINUTES” (it would be like a fire in a fire place: it has that attraction of something moving in a room while you think about something else), which is a tribute to Marcel Duchamp. In 2004, he created the duet «Zones of Noise Influence». In 2007, he premiered his latest creation “The Labyrinth, Death and the Audience” in Lisbon.<br /><span style="FONT-WEIGHT: bold">João Galante</span> (1968)<br />He studied Fine Arts, Theatre and Dance. As an actor / performer he has regularly collaborated with the Theatre Company Olho ((“El…”, “Zona”, “Anoz”, “DQ…” – staged by João Garcia Miguel). As a dance performer, he has worked with Madalena Victorino, Rui Nunes, Sílvia Real, Vera Mantero, Filipa Francisco, Francisco Camacho, Paula Castro, Carlota Lagido and João Samões. As a choreographer, he has developed some of his work together with Teresa Prima, of which he highlights: “À espera do raio” (1994), “O céu fica por cima” (1995), “Contra a morte” (1996), “Castanho é a cor da alma do meu verdadeiro amor” (1996), “Um golpe de sorte numa mera crise não é o suficiente” (1997), “Voodoo story” (1998), “Babylónia” (1998), “Nova Babylónia”(2002). In 1998, he choreographed the solo “Pas Mal”, performed by Madalena Victorino. In the year 2000, he created the solo “S. Freud, o terceiro ouvido””, which won him a honourable mention in the Acarte Award – Maria Madalena de Azeredo Perdigão. In 2001, he created the solo “Hunny Bunny, o Lamento da Rosa” and, along with the plastic artist Paulo Mendes, the project of installation / performance “ Copy. Paste”, which was produced in the context of Porto 2001 – European Capital of Culture and presented at the Conde Ferreira Psychiatric Hospital. He has conceived, in association with Ana Borralho, the performances “Mistermissmissmister”, “I love you” (2003), “No body never mind. 001” (2003) and “No body never mind.002” (2005). In 2006, he created, with Ana Borralho, the third part of the trilogy “NBNM” – the piece “ No body never mind.003”, which was made in close collaboration with the Japanese sound artist Atsushi Nishijima. In the same year, he created the performance / installation “SexyMF”. João Galante is a co-founder of the cultural association casaBranca.AC. </span></span>Transformahttp://www.blogger.com/profile/11139847328945551611noreply@blogger.com0tag:blogger.com,1999:blog-4488264026585420216.post-73308376652809991062007-11-01T08:16:00.000+00:002008-11-13T22:22:03.001+00:00<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo4XHYXIAW25H4b0TrzJyk3RtEGon73gSN4CDNceqM-ywFdGwMjefDbE_dqk-SDpJt1xlRCSwMFw4mxn-enA4t46upXrcb_pu-7E6JBtNPgUaIjs7uil-47wQVxYjQfqYIWZRcA-fmeg5E/s1600-h/imagem+transforma2.jpg"><img id="BLOGGER_PHOTO_ID_5130140730443870594" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo4XHYXIAW25H4b0TrzJyk3RtEGon73gSN4CDNceqM-ywFdGwMjefDbE_dqk-SDpJt1xlRCSwMFw4mxn-enA4t46upXrcb_pu-7E6JBtNPgUaIjs7uil-47wQVxYjQfqYIWZRcA-fmeg5E/s400/imagem+transforma2.jpg" border="0" /></a><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5vKQiTEeglVyzOw_Awnj8WurKI7re4vsB4S_PLRsydgi8vIZa9oyIEbAYDzh-jpvsUQ1aAI6yVoJJJd2Jt-G17Xe-utZUtsi_4Ki70gc_WqVlK2AWoRCwcdiXul79sySX6bFrQI1iuSao/s1600-h/imagem+transforma2.jpg"></a><br /></div><br /><div><br /><div><span style="font-size:100%;"><span style="FONT-WEIGHT: bold;font-family:georgia;" ></span></span></div><br /><div><span style="font-size:100%;"><span style="FONT-WEIGHT: bold;font-family:georgia;" ></span></span></div><br /><div><span style="font-size:100%;"><span style="FONT-WEIGHT: bold;font-family:georgia;" ></span></span></div><div><span style="font-size:100%;"><span style="FONT-WEIGHT: bold;font-family:georgia;" ></span></span></div><div><span style="font-size:100%;"><span style="FONT-WEIGHT: bold;font-family:georgia;" ></span></span></div><div><span style="font-size:100%;"><span style="FONT-WEIGHT: bold;font-family:georgia;" >AROUND THE CORNER </span></span><span style="font-size:85%;"><br /><span style="font-family:georgia;">instalação vídeo <span style="COLOR: rgb(153,153,153)">video installation</span></span></span><span style="font-family:georgia;"> </span><span style="FONT-WEIGHT: bold"><br /><span style="font-family:georgia;">Vitor Roriz (PT) + Davis Freeman (US)</span></span><span style="font-family:georgia;"><br /></span><span style="font-size:85%;"><span style="font-family:georgia;">19 Out / 22h00 / inauguração <span style="COLOR: rgb(153,153,153)">19th Oct / 10pm / opening</span> 20 Out – 17 Nov / Seg – Sáb, 10h00 – 19h00 / exposição </span><span style="font-family:georgia;"><span style="COLOR: rgb(153,153,153)">20th Oct – 17th Nov / Mon – Sat, 10am – 7pm / exhibition<br /></span>Transforma, Praça do Município - 8, Torres Vedras</span></span><span style="font-family:georgia;"> </span></div><br /><div><span style="font-family:georgia;"><br /></span><span style="font-size:85%;"><span style="font-family:georgia;"><span style="FONT-WEIGHT: bold">AROUND THE CORNER 1.1</span> é o primeiro de uma série de filmes que Davis Freeman e Vitor Roriz pretendem realizar em diferentes cidades. A linguagem deste filme foi explorada através de um processo de improvisação, baseado na relação entre os artistas e a arquitectura, as pessoas e, sobretudo, o movimento da cidade. A ideia inicial de <span style="FONT-WEIGHT: bold">AROUND THE CORNER</span> consistia em encontrar formas de tirar as pessoas da sua rotina habitual, perturbando o lugar comum do quotidiano urbano. Um dos aspectos fascinantes deste trabalho reside na forma como acções simples podem destabilizar a dinâmica de um espaço público. <span style="FONT-WEIGHT: bold">AROUND THE CORNER</span> tem a potencialidade de criar três tipos de público. Um que involuntariamente entra no enquadramento da filmagem e se envolve nas situações geradas pelos performers. Um segundo, que se reúne atrás das câmaras e assiste à forma como a acção está a ser filmada. E, por fim, um terceiro público que assiste à projecção dos dois filmes no seu formato final.<br /></span><span style="FONT-WEIGHT: bold"><br /><span style="font-family:georgia;">Biografias</span></span><span style="font-family:georgia;"><br /><span style="FONT-WEIGHT: bold">Davis Freeman (US) </span>Performer que trabalhou com Forced Entertainment (Bloody Mess), Meg Stuart (Highway 101, Alibi), Hans van den Broeck (They feed we eat eat eat) Stephan Pucher (Kirshgarten, Snapshots) entre outros. Criou a companhia Random Scream com Lilia Mestre em 2001, tendo realizado vários trabalhos em conjunto e a solo, tendo feito várias digressões internacionais. Estreou a sua última criação Tearjerker em Julho de 2005 estando actualmente a trabalhar com Forced Entertainment na sua última peça The World in Pictures. Algumas das suas criações foram: Untitle Me, Too shy to stare, 11th hour, Fading Fast e Everything you ever wanted to know about the club scene but were. Lilia Mestre e Davis Freeman criaram a companhia Random Scream com o propósito de expor os elementos ecléticos da cultura actual como linhas de partida para a dança, o teatro e as artes visuais. O projecto procura chamar a atenção para o que já existe focando as nossas próprias interacções, como as nossas escolhas afectam directamente cada um de nós e a comunidade onde vivemos.<br /><span style="FONT-WEIGHT: bold">Vitor Roriz (PT) </span>Iniciou a sua formação em dança no Centro de Dança do Porto e, posteriormente, no Forum Dança com Rui Horta, Francisco Camacho e Clara Andermatt. Desde 2001, trabalhou como intérprete com Mariana Rocha, Bruno Dizien, Wim Vendekeybus, Guilherme Botelho, Luís Guerra e Lilia Mestre. Depois de 2003, começou a desenvolver o seu próprio trabalho em colaboração com outros intérpretes. Recentemente, criou “25, Visegradska” (site-specific – ANANIL, 2006) e “Under(the)line” (Bomba Suicida – Bomba Take, Massivo e a Cores, 2006) com Sofia Dias. Licenciou-se em educação física e desporto na Universidade do Porto. Co-líder do Projecto Mola – Projecto de Intervenção Artística na Comunidade.<br /><br /><span style="COLOR: rgb(153,153,153)"><span style="FONT-WEIGHT: bold">AROUND THE CORNER 1.1</span> is the first in a series of films based on a city that Davis Freeman and Vitor Roriz intend to produce in different cities. The language from this film was explored throughout a process of improvisation based on the relation between the artists and the architecture, the people and specially the movement from the city. The initial idea from <span style="FONT-WEIGHT: bold">AROUND THE CORNER</span>, was based on how to take people out of their daily view from their city, out of the paths they experience each day to work, school, or shops. One of the most fascinating aspects of this work is to see how even smallest actions have quite a strong impact in the public space.</span> <span style="COLOR: rgb(153,153,153)"><span style="FONT-WEIGHT: bold">AROUND THE CORNER </span>has the potential of creating three different kinds of public. One that unknowingly becomes involved in the actions itself by walking across the cameras perspective and becoming involved with the performers. A second is the knowing public who gathers around and watches outside of the cameras view as the piece is being filmed. And a third public that comes to the theatre or gallery where they can connect and experience the two different films that are projected at the same time.</span> </span><span style="FONT-WEIGHT: bold; COLOR: rgb(153,153,153)"><br /><br /><span style="font-family:georgia;">Biographies</span></span><span style="font-family:georgia;"><br /><span style="COLOR: rgb(153,153,153)"><span style="FONT-WEIGHT: bold">Davis Freeman (US)</span> </span><span style="COLOR: rgb(153,153,153)">is a performance artist who has worked with Forced Entertainment (Bloody Mess), Meg Stuart (Highway 101, Alibi), Hans van den Broeck (They feed we eat eat eat) Stephan Pucher (Kirshgarten, Snapshots) and others. He started the company Random Scream in 2001 with Lilia Mestre and have created work together and alone which have toured internationally.</span> <span style="COLOR: rgb(153,153,153)">He premiered his latest piece Tearjerker in July 2005 and he's currently working with Forced Entertainment on their latest piece The World in Pictures. A few of his past pieces include Untitle Me, Too shy to stare, 11th hour, Fading Fast and Everything you ever wanted to know about the club scene but were.</span> <span style="COLOR: rgb(153,153,153)">Lilia Mestre and Davis Freeman created the company Random Scream to expose the eclectic elements of everyday culture with proposed lines of flight for dance, theatre, and visual arts. The projects aim to draw attention to what is already there by focusing on our personal interactions and how our choices directly affect each other and the community we live in.</span></span><span style="font-family:georgia;"><span style="FONT-WEIGHT: bold"><br /></span><span style="FONT-WEIGHT: bold; COLOR: rgb(153,153,153)">Vitor Roriz (PT)</span> <span style="COLOR: rgb(153,153,153)">He started his formation in dance in Centro de Dança do Porto and then in Fórum Dança with Rui Horta, Francisco Camacho and Clara Andermatt. Since 2001, he worked as a dancer with Mariana Rocha, Bruno Dizien, Wim Vandekeybus, and Guilherme Botelho.</span> <span style="COLOR: rgb(153,153,153)">Since 2003, he started developing his own work in collaboration with other dancers. Recently, he has created 25, Visegradska and Under(the)line with Sofia Dias.</span> <span style="COLOR: rgb(153,153,153)">He is graduated in sports and physical education by the University of Porto.</span> <span style="COLOR: rgb(153,153,153)">Co-Leader of Projecto Mola – Project of Artistic Intervention in the Community.</span> </span></span></div></div>Transformahttp://www.blogger.com/profile/11139847328945551611noreply@blogger.com0tag:blogger.com,1999:blog-4488264026585420216.post-5936138744428786592007-10-31T23:48:00.000+00:002008-11-13T22:22:04.432+00:00<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2zIFVPNblWvwRe4RkymK-tEglxI1diJDyi-YOK9PtFDhyIV9YjXvK0mWg0OobwbposA7qfy7-9V-jgHKAGb5nIuh6eJS3ghUErsyulL2Xq_PT4u2MymF8it8yw_o9Xdio6nh-s9UBF_wI/s1600-h/autoretrato+-+PB.jpg"><span style="font-family:georgia;"><img id="BLOGGER_PHOTO_ID_5127654807667912978" style="FLOAT: left; MARGIN: 0pt 10px 10px 0pt; CURSOR: pointer" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2zIFVPNblWvwRe4RkymK-tEglxI1diJDyi-YOK9PtFDhyIV9YjXvK0mWg0OobwbposA7qfy7-9V-jgHKAGb5nIuh6eJS3ghUErsyulL2Xq_PT4u2MymF8it8yw_o9Xdio6nh-s9UBF_wI/s400/autoretrato+-+PB.jpg" border="0" /></span></a><span style="font-family:georgia;"><br /></span><span style="font-size:100%;"><span style="FONT-WEIGHT: bold"><br /><span style="font-family:georgia;">a mão que faz o desenho inscreve a palavra</span></span></span><span style="font-family:georgia;"><br /><span style="font-size:85%;">Instalação</span> <span style="COLOR: rgb(153,153,153);font-size:85%;" >Installation</span></span><span style="font-family:georgia;"><span style="COLOR: rgb(153,153,153);font-size:85%;" ><br /></span><span style="FONT-WEIGHT: bold;font-size:100%;" ><span style="COLOR: rgb(0,0,0)"><span style="COLOR: rgb(0,0,0)">I</span>sabel Baraona (PT)</span></span><br /></span><span style="font-family:georgia;font-size:85%;">19 Out / 22h00 / inauguração <span style="COLOR: rgb(153,153,153)">19th Oct / 10pm / opening</span> </span><br /><span style="font-family:georgia;font-size:85%;">20 Out – 17 Nov / Seg – Sáb, 10h00 - 19h00 / exposição <span style="COLOR: rgb(153,153,153)">20th Oct – 17th Nov / Mon – Sat, 10am – 7pm / exhibition</span> </span><br /><span style="font-family:georgia;font-size:85%;">Transforma, Praça do Município - 8, Torres Vedras<br /><br /></span><br /><br /><br /><br /><p><span style="font-size:85%;"><span style="font-family:georgia;"><span style="FONT-WEIGHT: bold">I.</span><span style="FONT-WEIGHT: bold"> a mão que faz o desenho inscreve a palavra</span><br />Desde 2001, as várias séries de desenhos têm como temática primeira as relações amorosas e filiais sob as suas mais diversas facetas. Estas estórias são interpretadas através dos contos de fadas e das mitologias; narrativas povoadas por seres em permanente transformação e adaptação, próprias ao processo de sobrevivência e maturação. Assim se estabelecem incontáveis paralelos, evidenciados pelos personagens híbridos e sobreposições de diferentes iconografias universais e pessoais. O interesse pela literatura acompanha o processo do fazer. Há um certo número de palavras e pequenas frases cuja presença, constante e obsessiva, acompanham várias etapas e séries de trabalho. Estes termos opostos e inseparáveis - masculino e feminino, desejo e agressão, ternura e possessão – sublinham o confronto entre os personagens, numa narrativa com diferentes tempos de acção e tensão. Esta narrativa, que nem sempre é inteiramente legível, parece transpor a superfície do desenho, que é construído no verso e reverso da folha de papel. Ao processo de pesquisa, construção e maturação de uma série de trabalhos, associa-se um questionamento sobre as especificidades de cada disciplina/ técnica; um trabalho de desenho gera uma série de objectos, que pode dar origem a uma série de gravuras.<br /><span style="FONT-WEIGHT: bold">II. </span><span style="FONT-WEIGHT: bold">a mão que faz o desenho inscreve a palavra</span>, é um projecto iniciado em Fevereiro de 2007 e foi apresentado em Haslum (Noruega), em Bruxelas e Lisboa. O trabalho consiste num conjunto de recortes em papel autocolante, cujas particularidades são terem diferentes cores frente/verso e serem exemplares únicos, recortados à mão.</span><span style="font-family:georgia;"><span style="FONT-WEIGHT: bold"><br /></span><span style="FONT-WEIGHT: bold">a mão que faz o desenho inscreve a palavra</span>, é um projecto assumidamente efémero: não só pela impossibilidade material de ser conservado e por ser destruído durante a desmontagem; mas, sobretudo, porque o desenho que se vê é inconstante, não se deixa fixar num ponto de vista, altera-se com o deambular do espectador em torno da vitrina. Este é um desenho que contêm desenhos sob a forma de uma linha espontânea – rabiscada – que nem sempre define um personagem; limita-se a esboçar uma ideia que fica sempre numa etapa imprecisa e indefinida.<br /><span style="FONT-WEIGHT: bold">III.</span> O meu trabalho é como um mapa de referências e afectos que, simultaneamente, me constitui e que teço, dando um corpo ao que me abraça. O trabalho é uma cartografia pessoal: re-desenhada segundo as imagens, as viagens, os livros, filmes, músicas e pessoas que vejo e encontro; É uma teia imperceptível, urdida na vivência do dia a dia e que abarca 2 continentes e três línguas. Nunca se fixa. Os projectos existem a partir de ideias simples, surgem por falha de um outro trabalho, amadurecem lentamente – por via de uns rabiscos e pequenas maquetas; são sempre concebido numa profunda e estranha simbiose com os trabalhos anteriores e, uma vez materializado, dão origem a outro. Arrisco-me a dizer que, também os projectos nunca se fixam, que avançam num processo contínuo e simultâneo a uma lógica interna, biográfica. E por essa razão, o trabalho apresentado nunca é verdadeiramente site specific. É ajustado entre a ideia primeira e as condicionantes do espaço proposto para exposição. É a soma do percurso por mim traçado, entre o espaço de atelier e o espaço de exposição.<br /></p></span></span><br /><br /><div style="TEXT-ALIGN: right"><span style="font-family:georgia;"><span style="font-size:85%;">Isabel Baraona, Cascais – Setembro 2007 </span><br /></span></div><span style="font-size:100%;"><span style="FONT-WEIGHT: bold"><br /><span style="font-family:georgia;font-size:85%;">Biografia</span></span></span><span style="font-family:georgia;"><span style="font-size:85%;"><br />Nasceu em Cascais, em 1974. Entre 1997 e 2003 estudou em La Cambre e viveu em Bruxelas (Bélgica), onde iniciou o seu percurso profissional com uma exposição individual no ano de 2001. Instalou-se em Portugal em 2003, após ser convidada a dar aulas na ESAD.CR (Caldas da Rainha) </span><br /></span><span style="font-size:85%;"><br /><br /><span style="font-family:georgia;"><span style="FONT-WEIGHT: bold; COLOR: rgb(153,153,153)">I. </span><span style="FONT-WEIGHT: bold; COLOR: rgb(153,153,153)">a mão que faz o desenho inscreve a palavra</span></span></span><span style="COLOR: rgb(153,153,153);font-family:georgia;font-size:85%;" ><br />Since 2001, the main theme of these several series of drawings is loving and parental relationships. These stories are interpreted through fairy tales and mythologies; narratives populated with beings in permanent transformation and adaptation, inherent to the survival and maturation process. This way, innumerable parallels, put in evidence by hybrid characters and different universal and personal iconographies, are created.<br /><span style="FONT-WEIGHT: bold">II. </span><span style="FONT-WEIGHT: bold">a mão que faz o desenho inscreve a palavra</span> is a project which started in February 2007 and was presented in Haslum (Norway), Brussels and Lisbon. This project consists of a set of self-adhesive paper clippings, whose particularities are to have different colours on front and reverse sides and to be unique hand-cut examples.<br /><span style="FONT-WEIGHT: bold">a mão que faz o desenho inscreve a palavra</span> is an ephemeral project: because it’s impossible to move it from one place to another without destroying it; but mainly because the drawings change as the spectator moves around the display. This is a drawing that contains drawings under the form of a spontaneous line - scribbled - that not always defines a character; it simply sketches an idea that always stays in a vague and indefinite stage.<br /><span style="FONT-WEIGHT: bold">III.</span> My work is like a map of references and affections which, simultaneously, constitute me and that I weave, embodying all that surrounds me. The work is a personal cartography: re-designed according to the images, the trips, the books, the films, the music and the people I see and meet. It’s an imperceptible web, woven in the day-to-day experience and it embraces 2 continents and 3 languages. It’s impermanent.<br />Projects come from simple ideas; they appear because other work didn’t succeed, they slowly mature – through scribbles and small scale models; they are always conceived in a deep and strange symbiosis with the former works and, once they materialize, they give origin to another one. I risk myself to say that projects are also impermanent, that they develop in a continuous and simultaneous process to an internal logic, biographical.<br />And, for that reason, the presented work is never truly site-specific. It is adjusted between the first idea and the conditions of the space where the exhibition will occur. It’s the result of the path I’ve chosen, from the studio to the exhibition space.<br /></span><br /><br /></span></span><div style="TEXT-ALIGN: right"><span style="font-family:georgia;"><span style="COLOR: rgb(153,153,153);font-size:85%;" >Isabel Baraona, Cascais – September 2007</span><br /></span></div><span style="COLOR: rgb(153,153,153);font-size:85%;" ><br /></span><span style="font-family:georgia;"><span style="COLOR: rgb(153,153,153);font-size:85%;" ><span style="FONT-WEIGHT: bold">Biography<br /></span></span><span style="COLOR: rgb(153,153,153);font-size:85%;" >She was born in Cascais, 1974. Studied in La Cambre , between 1997 and 2003, and lived in Brussels (Belgium), where she started her professional career by doing an individual exhibition in the year of 2001. She came to live in Portugal in 2003, after being invited to teach at ESAD.CR (Caldas da Rainha). </span></span><br /><br /></span></span><br /><strong><span style="font-family:georgia;">Fotos <span style="color:#999999;">Photos</span>:</span></strong><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjALPtg-Zff_0-SdYoKB_Ov2xCmKpooJKWD0GmbIiK13hs6NUtnYlRUpg4zvfdRMJ0wjo4odVVRusUHmEcrrGhCtKGGWDzWSNAIc7Zsngmqez8GdaC46b7Plc87TjE55wWiPZZIMOlsP_i/s1600-h/IMG_1085.JPG"><img id="BLOGGER_PHOTO_ID_5133399069866128354" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjALPtg-Zff_0-SdYoKB_Ov2xCmKpooJKWD0GmbIiK13hs6NUtnYlRUpg4zvfdRMJ0wjo4odVVRusUHmEcrrGhCtKGGWDzWSNAIc7Zsngmqez8GdaC46b7Plc87TjE55wWiPZZIMOlsP_i/s200/IMG_1085.JPG" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVaBjthMlCR-6DhosrG_COLUD9ybLyUXM7q9QBd2HDKQwKApb7XWXWXYLF0zKSHxvkgy1HPTOTiOeuZ7kFRYcW53SCWIHxR9h_QCB5YoXGEyAOAqSd92SSvlEF1HF4YU1REL3jAFOf3uGu/s1600-h/IMG_1123.JPG"><img id="BLOGGER_PHOTO_ID_5133401874479772674" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVaBjthMlCR-6DhosrG_COLUD9ybLyUXM7q9QBd2HDKQwKApb7XWXWXYLF0zKSHxvkgy1HPTOTiOeuZ7kFRYcW53SCWIHxR9h_QCB5YoXGEyAOAqSd92SSvlEF1HF4YU1REL3jAFOf3uGu/s200/IMG_1123.JPG" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh62BfvgYs_BUxyKaP2c5Aegm49diGavi8gU8qKN43DsENh4h0l2sZhJBYQmq3MeUPH7NUMmiACr_lDJeJnIab-4LW9cLSvHgFOugTM6y72DQ893mzZxY24K57MTRTyOu95gY4Ru6kJPZH9/s1600-h/IMG_1124.JPG"><img id="BLOGGER_PHOTO_ID_5133402681933624338" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh62BfvgYs_BUxyKaP2c5Aegm49diGavi8gU8qKN43DsENh4h0l2sZhJBYQmq3MeUPH7NUMmiACr_lDJeJnIab-4LW9cLSvHgFOugTM6y72DQ893mzZxY24K57MTRTyOu95gY4Ru6kJPZH9/s200/IMG_1124.JPG" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaQKJd63aTZY8BqOdkpWPpT_kJbMe8cMoZ2o6a-kayMtr-YytTnkenkI9fJeMiITs80AV3hCroaSDHdTnTNM-8WfNl8245CNPclr1V42OEvphGMHZn2J4aHX7eo32vhKzl0sdg6X7pdskR/s1600-h/IMG_1094.JPG"><img id="BLOGGER_PHOTO_ID_5133404996920996914" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaQKJd63aTZY8BqOdkpWPpT_kJbMe8cMoZ2o6a-kayMtr-YytTnkenkI9fJeMiITs80AV3hCroaSDHdTnTNM-8WfNl8245CNPclr1V42OEvphGMHZn2J4aHX7eo32vhKzl0sdg6X7pdskR/s200/IMG_1094.JPG" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP68oF2lCcxEaeIPr-P0wYB-NXLHrsYRJkPFO3efj6WaMS_b77GukeK9mwQWnHvbjcPa1RrCHgOmBq3Gsoy-ILsWmmEwyvc84pSgRZfDN7J6Bh3zhKPJ4NaTXNdDhwU1Kt4HGWxsJ1GdGs/s1600-h/IMG_1110.JPG"><img id="BLOGGER_PHOTO_ID_5133415502411002946" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP68oF2lCcxEaeIPr-P0wYB-NXLHrsYRJkPFO3efj6WaMS_b77GukeK9mwQWnHvbjcPa1RrCHgOmBq3Gsoy-ILsWmmEwyvc84pSgRZfDN7J6Bh3zhKPJ4NaTXNdDhwU1Kt4HGWxsJ1GdGs/s200/IMG_1110.JPG" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7N9OHjCs-4HMd7o87MaKxlc1RM_4MHPRyBh2lT3XLJJxAHIfryacwBcOIXMYKz9qkQTV26d0AC8y5OdxlzQuJQz3OyfcmVQbTHx1eLk3caYH4aDxS7EtVhne8klleQ7-S3LrLEV6BccSM/s1600-h/IMG_1121.JPG"><img id="BLOGGER_PHOTO_ID_5133416241145377874" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7N9OHjCs-4HMd7o87MaKxlc1RM_4MHPRyBh2lT3XLJJxAHIfryacwBcOIXMYKz9qkQTV26d0AC8y5OdxlzQuJQz3OyfcmVQbTHx1eLk3caYH4aDxS7EtVhne8klleQ7-S3LrLEV6BccSM/s200/IMG_1121.JPG" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><span style="font-family:georgia;font-size:85%;">fotos <span style="color:#999999;">photos</span> © Isabel Baraona (PT)</span>Transformahttp://www.blogger.com/profile/11139847328945551611noreply@blogger.com0tag:blogger.com,1999:blog-4488264026585420216.post-30239252652327966722007-10-30T14:25:00.000+00:002008-11-13T22:22:11.734+00:00<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghIwILIaoM0oQ0QF2WPR-gKbCIwzV-B0fiUVX3oqAKq3znnYBoUaR_PrnYBYd5Lz9q1F1e26-6WECF9PNzInGgELUMEnGkxv9LJzBAjPTVJhQupFga5pBt050fbbguHD85BZVNmLa5ziVb/s1600-h/img_8816piotrovska.jpg"></a><div><div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbrQ0Eke9sKBHCbyELZzLUtSFWhxbThOVtySODIgPcugwc5EYAGuA18CWZJH5f_yRDzlcHZqwRKrgfNBBE7R_T9Hn6cIPYzKGBJIBfJn-hYb_J0Qa3ieF_sk4zcKkmWDA5hla1Bg-S79_Z/s1600-h/Cópia+de+correio.jpg"><span style="font-family:georgia;"><img id="BLOGGER_PHOTO_ID_5127651307269566722" style="FLOAT: left; MARGIN: 0pt 10px 10px 0pt; CURSOR: pointer" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbrQ0Eke9sKBHCbyELZzLUtSFWhxbThOVtySODIgPcugwc5EYAGuA18CWZJH5f_yRDzlcHZqwRKrgfNBBE7R_T9Hn6cIPYzKGBJIBfJn-hYb_J0Qa3ieF_sk4zcKkmWDA5hla1Bg-S79_Z/s400/C%C3%B3pia+de+correio.jpg" border="0" /></span></a><span style="font-family:georgia;"> </span><span style="COLOR: rgb(0,0,0);font-size:100%;" ><strong><br /><br /></strong></span><span style="COLOR: rgb(0,0,0);font-size:100%;" ><strong><span style="font-family:georgia;">Horror Vacui </span></strong></span><span style="COLOR: rgb(0,0,0);font-size:85%;" ><span style="font-family:georgia;">Instalação <span style="COLOR: rgb(153,153,153)">Installation</span><br /></span><span style="font-family:georgia;"><span style="font-size:100%;"><strong>Michael Pinsky (UK)</strong><br /></span><br />19 Out / 21h00 / inauguração </span><span style="font-family:georgia;"><span style="COLOR: rgb(153,153,153)">19th Oct / 9pm / opening<br /></span>Transforma, Praça do Município - 8, Torres Vedras<br />26 Out – 17 Nov / Seg – Sáb, 10h00 – 19h00 / exposição </span><span style="font-family:georgia;"><span style="COLOR: rgb(153,153,153)">26th Oct – 17th Nov / Mon – Sat, 10am – 7pm / exhibition<br /></span>Armazém <span style="COLOR: rgb(153,153,153)">Warehouse</span>, Pátio Alfazema, Torres Vedras<br /><br />Os azulejos são uma característica predominante da arquitectura portuguesa. Os azulejos foram sendo incorporados, ao longo dos últimos quinhentos anos, em diversos estilos arquitectónico, desde o Gótico ao Bauhaus. Esta utilização única dos azulejos surge por toda a cidade de Torres Vedras.<br /><span style="FONT-WEIGHT: bold">Horror Vacui</span> observa e faz o mapeamento dos azulejos inerentes à arquitectura da cidade e cria uma representação decorativa, não-funcionalista da sua estrutura. Esta base de dados constituída pelas imagens dos azulejos é usada para criar um puzzle formado por designs híbridos, que mistura e transforma os diversos padrões repetitivos dos azulejos. Esta charada formará um painel com uma área de 49 m2.<br />Uma vez impressos, as imagens dos azulejos serão enviadas para cem pessoas de vários pontos do mundo. Os participantes, que serão cuidadosamente seleccionados, estarão completamente envolvidos e empenhados no projecto. Cada azulejo tem um formato de 70cm x 70cm, um tamanho difícil, mas não impossível, de transportar. Cada um destes participantes chegará a Torres Vedras numa data específica para construir o painel.<br />O processo de mapeamento que permite seguir o rasto dos azulejos tanto a nível local, mostrando a sua localização original, como a nível global, mostrando a localização dos participantes, será visível na internet através do Google Earth. Uma espécie de fios interactivos fará a ligação entre a localização original dos azulejos e a dos participantes.<br />Dentro de um espaço definido, os participantes terão de interagir entre eles para construir o puzzle. Cada lado do azulejo terá um padrão único, que apenas alinhará com um dos lados de um dos outros azulejos. O processo de construção do painel será filmado a partir de cima. No início teremos um espaço cheio de gente, mas, à medida que o puzzle for sendo construído, os participantes abandonarão o espaço pouco a pouco até que o padrão completo seja revelado.<br />O processo de documentação, desconstrução, mutação, dispersão, convergência e reconfiguração usará a rede de contactos da Transforma para criar uma narrativa de trabalho. Uma vez feito, o trabalho levará consigo esta mitologia. Pedaços da arquitectura de Torres Vedras serão espalhados pelo mundo a pessoas que, ao trazerem os azulejos de volta à sua cidade, serão audiência e ao mesmo tempo performers deste projecto. O desenho repetitivo dos azulejos reflecte a dimensão e o número infinito de configurações possíveis dentro da rede. O espaço será construído através da interacção social.<br />O palco onde a acção decorre é trazido pelas próprias pessoas. O vazio é preenchido.<br /></span></span><br /><div style="TEXT-ALIGN: right"><span style="font-family:georgia;"><span style="COLOR: rgb(0,0,0);font-size:85%;" >Michael Pinsky 2007</span><br /></span></div><span style="COLOR: rgb(0,0,0);font-size:85%;" ><span style="font-family:georgia;"><span style="font-size:78%;"></span></span><br /><span style="font-family:georgia;"><span style="font-size:78%;"></span></span><br /><span style="font-family:georgia;"><span style="font-size:78%;">Nota: No início do século XV os Portugueses adoptaram a tradição Moura do Horror Vacui (‘medo de espaços vazios’) e cobriram completamente as paredes com azulejos.<br /></span><br /></span><span style="font-family:georgia;"><span style="font-size:100%;"><strong style="FONT-FAMILY: verdana">Biografia</strong><br /></span><br />Michael Pinsky desempenha diversas funções em simultâneo, enquanto: projectista urbano, activista, investigador, residente e artista. Pinsky responde sítio-específicamente ao espaço físico e sociológico. O contexto é fundamental, providenciando tanto o conteúdo como a plataforma para o seu trabalho. Pinsky anda actualmente em itinerância com Panacea, uma exposição apoiada pela ACE, que passará pelos seguintes locais: CCC, Tours; Galerie d’art Contemporain, Chinon; Archilab, Orleães e Le Parvis, Ibos, em France; the John Hansard Gallery e a Cornerhouse, em Manchester. Os projectos a solo seleccionados foram: In Transit, ICA, Londres, V2 Lab, Roterdão, Economist, Londres, Armory Center of the Arts, Los Angeles, EUA, e a Cornerhouse, Reino Unido; Routes, Modern Art Oxford, Reino Unido; Weather Cluster, COAST commissions, Reino Unido, Transparent Room, Leed City Art Gallery, Watershed, Bristol, Reino Unido and the Contemporary Art Forum, Canadá; Feedback premiado na Weimar, European Cultural Capital e desenvolvido no ZKM, Karlsruhe, Alemanha, e Ecole des Beaux-Arts, Aix-En Provence, França.</span></span><span style="COLOR: rgb(0,0,0);font-size:85%;" ><span style="font-family:georgia;"><br /></span><a style="COLOR: rgb(192,192,192); FONT-FAMILY: verdana" href="http://www.michaelpinsky.com/"><span style="font-family:georgia;">http://www.michaelpinsky.com/</span></a></span><span style="COLOR: rgb(0,0,0);font-size:85%;" ><a style="COLOR: rgb(192,192,192); FONT-FAMILY: verdana" href="http://www.michaelpinsky.com/"><span style="font-family:georgia;"><br /></span></a><br /><br /><br /><span style="COLOR: rgb(153,153,153);font-family:georgia;" >The prominence of tile design defines Portugal’s built environment. Tiles have been incorporated into the last five hundred years of architectural style from Gothic to Bauhaus. In Torres Vedras this distinct use of tiles punctuates the town.<br /><span style="FONT-WEIGHT: bold">Horror Vacui</span> surveys and catalogues the town’s architectural tiles creating a decorative, non-functionalist representation of its structure. This database of tile motifs is used to create a puzzle formed by hybrid designs, which merge and mutate the tiles’ diverse repeating patterns. This riddle, when completed, will form a floor with an area of 49 square meters.<br />Once printed these tiles will be posted to a hundred individuals across the globe. These carefully selected participants will be fully engaged and committed to the project. Each tile is a solid form 700mm by 700mm, an awkward though not impossible size to carry. Each courier will arrive in Torres Vedras on a particular date to construct the floor.<br />The mapping process tracking the tiles at both the local level, the tiles original location, and at the global level, the participant’s location, will be visible on the web using Google Earth. Animated strands will link the tiles original location with its temporary guardian.<br />Within a defined space the participants will have to negotiate with each other to construct the puzzle. Each side of the tile will have a unique pattern, which will only align with one side of another tile. The process of this construction of the floor will be documented from a bird’s eye view. The start of the process will present a space full of people, as the puzzle is configured the participants will slowly leave the space until the full pattern is revealed.<br />The process of documentation, deconstruction, mutation, dispersal, convergence and reconfiguration will use Transforma’s network, existing and desired, to create a narrative for the work. Once constructed, the work will carry this mythology with it. The architecture of Torres Vedras will be spread across the world to individuals, who through the process of bringing the tiles back home, become both the project’s audience and performers. The repeating design of the tiles reflects the infinite size and number of configurations available within the network. The built space will be constructed through the social engagement.<br />The platform supporting the people is brought by the people. The vacuum is filled.<br /></span></span></span><br /><br /><div style="TEXT-ALIGN: right"><span style="font-family:georgia;"><span style="COLOR: rgb(0,0,0);font-size:85%;" ><span style="COLOR: rgb(153,153,153)">Michael Pinsky 2007</span></span><br /></span></div><span style="COLOR: rgb(0,0,0);font-size:85%;" ><span style="COLOR: rgb(153,153,153)"><br /></span><span style="COLOR: rgb(153,153,153)"><span style="font-family:georgia;"><span style="font-size:78%;">Note: In the early 15th-century the Portuguese adopted the Moorish tradition of horror vacui 'fear of empty spaces' and covered the walls completely with azulejos.<br /></span><br /></span><span style="font-family:georgia;"><span style="font-size:100%;"><strong>Biography</strong><br /></span><br />Michael Pinsky takes the combined roles of urban planner, activist, researcher, resident and artist. Pinsky responds site-specifically to physical and sociological space. Context is crucial, providing both the content and the platform for his work. He is currently touring Panacea, an ACE funded exhibition, to the CCC, Tours; Galerie d’art Contemporain, Chinon; Archilab, Orleans; Le Parvis, Ibos in France; the John Hansard Gallery and the Cornerhouse, Manchester. Selected solo projects include; In Transit, ICA, London, V2 Lab, Rotterdam, Economist, London, Armory Center of the Arts, Los Angeles, USA, and the Cornerhouse, UK; Routes, Modern Art Oxford, UK; Weather Cluster, COAST commissions, UK, Transparent Room, Leed City Art Gallery, Watershed, Bristol, UK and the Contemporary Art Forum, Canada; Feedback premiered at Weimar, European Cultural Capital and developed at ZKM, Karlsruhe, Germany, and Ecole des Beaux-Arts, Aix-En Provence, France.<br /></span><a style="COLOR: rgb(192,192,192); FONT-FAMILY: verdana" href="http://www.michaelpinsky.com/"><span style="font-family:georgia;">http://www.michaelpinsky.com/</span></a><span style="font-family:georgia;"><span style="COLOR: rgb(192,192,192)">.</span> </span></span><br /></span><br /><span style="COLOR: rgb(153,153,153);font-size:100%;" ><strong><span style="COLOR: rgb(0,0,0)">Fotos</span> Photos:</strong></span><br /><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNLwuboLwbNmrxUXxis7oD1hFfMd2JhiFIJL2imy4qArvMEB1obArzsHFOGo8TiUkwdsAzGiC3NKEBiT2HIfUHRNmAUTzB_-M4J9skDH18S78GQlOLAVNPianDEVzzhcQx6KLcdL1Twj6v/s1600-h/desvios19+005.jpg"><img id="BLOGGER_PHOTO_ID_5133048244052489042" style="FLOAT: left; 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MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBdX4BbrjJ07VADS-YVy3nzT3HEsyggZfWAUuiqrX0R2_SxKMHjGgfNbZ8hcz9o7og_AXrpaz1cw5WuuwCbGhmcKg0zKeoRAwBsVoeRbMNq_y3JWEOLCi_olTkX-2ExIgMOzAh4BQVt2jB/s200/img_8816piotrovska.jpg" border="0" /></a></div><div><span style="font-size:85%;"></span> </div><div><span style="font-size:85%;"></span> </div><div><span style="font-size:85%;"></span> </div><div><span style="font-size:85%;"></span> </div><div><span style="font-size:85%;"></span> </div><div><span style="font-size:85%;"></span> </div><div><span style="font-size:85%;"></span> </div><div><span style="font-size:85%;"></span> </div><div><span style="font-size:85%;"></span> </div><div><span style="font-size:85%;"></span> </div><div><span style="font-size:85%;"></span> </div><div><span style="font-size:85%;"></span> </div><div><span style="font-size:85%;"></span> </div><div><span style="font-size:85%;"></span> </div><div><span style="font-size:85%;"></span> </div><div><span style="font-size:85%;">fotos <span style="color:#999999;">photos</span> © Anna Piotrowska (PL)</span> </div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQQrlHb2d3aMPLoH3Gv0jY2vnWz4rAgHZQSl6pETxcLfIIRTzVgj9VU7MYOZrhuC3BhscXu7CYtXe2hyAe2Nz-JKyfeSozDsxPhxy6XeujyaOhNSmkn0tvfZbOdsxuaZrcpVJNUBtrM82t/s1600-h/horrorevent5810.jpg"><strong><img id="BLOGGER_PHOTO_ID_5133049669981631346" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 181px; HEIGHT: 214px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQQrlHb2d3aMPLoH3Gv0jY2vnWz4rAgHZQSl6pETxcLfIIRTzVgj9VU7MYOZrhuC3BhscXu7CYtXe2hyAe2Nz-JKyfeSozDsxPhxy6XeujyaOhNSmkn0tvfZbOdsxuaZrcpVJNUBtrM82t/s200/horrorevent5810.jpg" border="0" /></strong></a></div><div></div><div></div><div align="left"><span style="COLOR: rgb(153,153,153);font-size:100%;" ><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8oCEfJ0z8c1vHH4JMK_iRjjm38Xt9MZMh16xzeeQdkEsfY-ttCDgZud2TYAsb8PmpCmvNV85UfGRt9UBxjqR8LD61nJPtzUOAL7iOq4zG5UpYq6fSLKlSL3FzY3vY8UiC3spsxuD-Qplf/s1600-h/plazahor2.jpg"><strong><img id="BLOGGER_PHOTO_ID_5133051259119530946" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 182px; HEIGHT: 213px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8oCEfJ0z8c1vHH4JMK_iRjjm38Xt9MZMh16xzeeQdkEsfY-ttCDgZud2TYAsb8PmpCmvNV85UfGRt9UBxjqR8LD61nJPtzUOAL7iOq4zG5UpYq6fSLKlSL3FzY3vY8UiC3spsxuD-Qplf/s200/plazahor2.jpg" border="0" /></strong></a></span></div><div align="left"><span style="COLOR: rgb(153,153,153);font-size:100%;" ><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghrznAbC27aRXHOLP2cdTMFQfMY240AW-5H5H9Z2x_pfftdyWJhB2TDLA0hyyMDiM-hhxHl-W_xrzxFy-FIrZXx47tEPaYfsAu-OgyYBiMk4HlOlZFTOFbU2oEzMT5VAlHnSUSFbmU81I6/s1600-h/lookhor.jpg"><strong><img id="BLOGGER_PHOTO_ID_5133051091615806386" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 179px; HEIGHT: 214px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghrznAbC27aRXHOLP2cdTMFQfMY240AW-5H5H9Z2x_pfftdyWJhB2TDLA0hyyMDiM-hhxHl-W_xrzxFy-FIrZXx47tEPaYfsAu-OgyYBiMk4HlOlZFTOFbU2oEzMT5VAlHnSUSFbmU81I6/s200/lookhor.jpg" border="0" /></strong></a></span></div><div align="left"><span style="COLOR: rgb(153,153,153);font-size:100%;" ><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9Kx-CDqNuya_rODhHHJTYu7GPkuiJAaZlu03r1RanSHQrQdmEkxUS_v8zy1vYMABtstObksLdckE4tUn8CIrB735anV3mfr-okNEB1ZJIVZ8Kj7cN4O0hXKvH3XfLMluCBo3KLTNkEVjZ/s1600-h/doorhor.jpg"><strong><img id="BLOGGER_PHOTO_ID_5133050052233720722" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 184px; HEIGHT: 220px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9Kx-CDqNuya_rODhHHJTYu7GPkuiJAaZlu03r1RanSHQrQdmEkxUS_v8zy1vYMABtstObksLdckE4tUn8CIrB735anV3mfr-okNEB1ZJIVZ8Kj7cN4O0hXKvH3XfLMluCBo3KLTNkEVjZ/s200/doorhor.jpg" border="0" /></strong></a></span></div><div align="left"><span style="COLOR: rgb(153,153,153);font-size:100%;" ><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF1ua6nAPxzfeg7jquh1DTceeKImy7w0ftf6dHMkp6Mvv0UCWE4FIFgY9kNchyr6zMzNF23MXU0P5sgzWzM5yT3eGiMBVVimW5qeaEuQlVn_sSDc9ddZx_rklHYBLSq8tq_0vQfrzQoPGX/s1600-h/projhor1.jpg"><strong><img id="BLOGGER_PHOTO_ID_5133051405148419026" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 182px; HEIGHT: 217px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF1ua6nAPxzfeg7jquh1DTceeKImy7w0ftf6dHMkp6Mvv0UCWE4FIFgY9kNchyr6zMzNF23MXU0P5sgzWzM5yT3eGiMBVVimW5qeaEuQlVn_sSDc9ddZx_rklHYBLSq8tq_0vQfrzQoPGX/s200/projhor1.jpg" border="0" /></strong></a></span></div><div align="left"><span style="COLOR: rgb(153,153,153);font-size:100%;" ><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgApyQOFFY-8_FtUhIAtEBRp0H14vdwFhsiULWA6zDXeekn_LzDuFOofoV7fEr5LAVluVVE7fWoYipvArs8-65vnnYsZTjYWlWeplYars2yiGDIvkw1mRx6cT2G30VNRrEc2nGF4CbqnEXy/s1600-h/horrorevent5804.jpg"><strong></strong></a></span><span style="COLOR: rgb(153,153,153);font-size:100%;" ><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF1ua6nAPxzfeg7jquh1DTceeKImy7w0ftf6dHMkp6Mvv0UCWE4FIFgY9kNchyr6zMzNF23MXU0P5sgzWzM5yT3eGiMBVVimW5qeaEuQlVn_sSDc9ddZx_rklHYBLSq8tq_0vQfrzQoPGX/s1600-h/projhor1.jpg"><strong></strong></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNmuKisEMvFlrDz2dNcZbyehVH-LlcMZMTnwntEpMMGXnnKrrzHJTRD4htrD7shfMD-CKPQ31v4i065MywMh2Q62gbA9S8bm9oRjyxcgfrONQF2znONcL1z1Y05qBTfBqTVMdSj6ZCSr3a/s1600-h/horrorevent5804.jpg"><img id="BLOGGER_PHOTO_ID_5133420231169995874" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNmuKisEMvFlrDz2dNcZbyehVH-LlcMZMTnwntEpMMGXnnKrrzHJTRD4htrD7shfMD-CKPQ31v4i065MywMh2Q62gbA9S8bm9oRjyxcgfrONQF2znONcL1z1Y05qBTfBqTVMdSj6ZCSr3a/s200/horrorevent5804.jpg" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgApyQOFFY-8_FtUhIAtEBRp0H14vdwFhsiULWA6zDXeekn_LzDuFOofoV7fEr5LAVluVVE7fWoYipvArs8-65vnnYsZTjYWlWeplYars2yiGDIvkw1mRx6cT2G30VNRrEc2nGF4CbqnEXy/s1600-h/horrorevent5804.jpg"><strong></strong></a><br /><br /></span><span style="COLOR: rgb(153,153,153);font-size:100%;" ><br /><br /><br /><br /><br /><br /></span><span style="COLOR: rgb(153,153,153);font-size:100%;" ><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgApyQOFFY-8_FtUhIAtEBRp0H14vdwFhsiULWA6zDXeekn_LzDuFOofoV7fEr5LAVluVVE7fWoYipvArs8-65vnnYsZTjYWlWeplYars2yiGDIvkw1mRx6cT2G30VNRrEc2nGF4CbqnEXy/s1600-h/horrorevent5804.jpg"><strong></strong></a></span><br /><span style="COLOR: rgb(153,153,153);font-size:100%;" ><br /></div></span><div><br /></div><div><br /></div><div><span style="COLOR: rgb(153,153,153);font-family:georgia;font-size:85%;" ><span style="COLOR: rgb(0,0,0)">fotos </span></span><span style="COLOR: rgb(153,153,153);font-family:georgia;font-size:85%;" ><span style="COLOR: rgb(0,0,0)"><span style="COLOR: rgb(153,153,153)">photos</span> © Michael Pinsky (UK)</span></span><span style="font-size:85%;"><br /></div></span></div>Transformahttp://www.blogger.com/profile/11139847328945551611noreply@blogger.com0tag:blogger.com,1999:blog-4488264026585420216.post-22886105735864216452007-10-30T14:12:00.000+00:002008-11-13T22:22:19.122+00:00<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMO6XzJt7hxgPoBmWEJ5kAzNOcah7eIyyvz_c6F11e6XXMHBbbRbrZBH0dcNr27Zx-lhXGKhb57KxaTmw-_SPpBA873-NxZ28KdJJYoz-e-xJxUGQssiyCSk_djX2RBwSRh8olM6vYtr4C/s1600-h/dolores-wilber-come_06_l_2.jpg"><img id="BLOGGER_PHOTO_ID_5127690022104772898" style="FLOAT: left; MARGIN: 0pt 10px 10px 0pt; CURSOR: pointer" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMO6XzJt7hxgPoBmWEJ5kAzNOcah7eIyyvz_c6F11e6XXMHBbbRbrZBH0dcNr27Zx-lhXGKhb57KxaTmw-_SPpBA873-NxZ28KdJJYoz-e-xJxUGQssiyCSk_djX2RBwSRh8olM6vYtr4C/s400/dolores-wilber-come_06_l_2.jpg" border="0" /></a> <div><div><div><div><div><div><div><div><div><div><div><div><div><div><div><div><br /></div><br /><div><span style="COLOR: rgb(0,0,0);font-family:georgia;font-size:85%;" ><strong><span style="font-size:130%;"><span style="COLOR: rgb(153,153,153)">Desvios III</span> <span style="COLOR: rgb(0,0,0)">Detours III</span></span></strong><span style="COLOR: rgb(0,0,0)"> </span></span><br /><span style="COLOR: rgb(0,0,0);font-family:georgia;font-size:85%;" ><strong>International forum of contemporary thought and art<br /><em>Relational spaces: the new expanded field for art and thought</em> </strong><span style="COLOR: rgb(153,153,153)"><strong>Encontro internacional sobre pensamento e arte contemporâneos<br /><em>Espaços relacionais: o novo campo expandido para a arte e pensamento<br /></em></strong></span><br /><span style="COLOR: rgb(153,153,153)">Curadoria de</span> Curated by: Gabriela Vaz-Pinheiro (PT) / Transforma<br /><br /><span style="COLOR: rgb(153,153,153)">Participantes</span> Participants: Álvaro Domingues (PT); Carla Cruz (PT); Cristiana Rocha (PT); Dolores Wilber (USA); Francesca Ferguson (UK); Future Reflections (UK): Catherine Maffioletti (UK), Katrine Hjelde (NO), Marsha Bradfield (CA); Nuno Grande (PT); Gabriela Vaz-Pinheiro (PT); Heitor Alvelos (PT), Igor Dobricic (CS), Isabel Sabino (PT), Lorenzo Benedetti (IT), Sara Matos (PT), Stephen Wright (CA)<br /><br /><span style="COLOR: rgb(153,153,153)">19 – 20, Outubro</span> <span style="COLOR: rgb(0,0,0)">October 2007 9h30 - 18h30,<br />Auditório do Edifício dos Paços do Concelho, Torres</span> Vedras, Portugal</span><br /><span style="COLOR: rgb(0,0,0);font-family:georgia;font-size:85%;" ><br />Desvios / Detours III is the third edition of the international encounters hosted by Transforma in Torres Vedras since 2004, curated by Gabriela Vaz-Pinheiro, and is part of TRANSFORMA_B Arts, Creativity and the City.<br /><br />The coming event proposes a different format for a conference by creating separate sets of interchange and discussion that later come together in the forum. The line up of speakers comprises some of most interesting and thought-provoking voices of this and the other side of the Atlantic:<br /><br />Álvaro Domingues (PT); Carla Cruz (PT); Cristiana Rocha (PT); Dolores Wilber (USA); Francesca Ferguson (UK); Future Reflections (UK): Catherine Maffioletti (UK), Katrine Hjelde (NO), Marsha Bradfield (CA); Nuno Grande (PT); Gabriela Vaz-Pinheiro (PT); Heitor Alvelos (PT), Igor Dobricic (CS), Isabel Sabino (PT), Lorenzo Benedetti (IT), Sara Matos (PT), Stephen Wright (CA)<br /><br />The structure of the event will thus consider two different types of moments: a line up of 30 minutes presentations from the invited and submitting speakers on the 19th and on the 20th (morning), both followed by a forum with the audience; and four working groups, chaired by a pair of speakers and invited participants, that will take place in the afternoon. The working groups will share their findings and experience in a final discussion at the end of the day. It is intended to create a space of debate and brainstorming around the issues involved, so that some form of collective reflection is shared by all participants during the working sessions and later with the audience at the general discussion moments. This interchange will complement the forums of the previous day and morning and offer the opportunity to test and share methodologies of discussion and reflection around the core issues of DESVIOS/DETOURS III.<br /><br /><span style="COLOR: rgb(153,153,153)">Desvios / Detours III é a terceira edição dos encontros internacionais organizados pela Transforma em Torres Vedras desde 2004, com a curadoria de Gabriela Vaz-Pinheiro, e integra TRANSFORMA_B Arts, Creativity and the City.<br /><br />Este evento propõe um formato diferente para uma conferência ao criar conjuntos separados de intercâmbio e discussão que mais tarde se reúnem em fórum. A composição do painel de oradores inclui algumas das vozes mais interessantes e provocadoras deste e do outro lado do Atlântico:<br /><br />Álvaro Domingues (PT); Carla Cruz (PT); Cristiana Rocha (PT); Dolores Wilber (USA); Francesca Ferguson (UK); Future Reflections (UK): Catherine Maffioletti (UK), Katrine Hjelde (NO), Marsha Bradfield (CA); Nuno Grande (PT); Gabriela Vaz-Pinheiro (PT); Heitor Alvelos (PT), Igor Dobricic (CS), Isabel Sabino (PT), Lorenzo Benedetti (IT), Sara Matos (PT), Stephen Wright (CA)<br /><br />A estrutura do evento, portanto, contempla dois momentos diferentes: uma sequência de apresentações de cerca de 30 minutos por parte dos oradores convidados no dia 19 e no dia 20 de manhã, ambas seguidas de fórum de discussão com a audiência; e quatro grupos de trabalho orientados por alguns dos oradores e participantes convidados para o efeito durante a tarde.<br />Os grupos de trabalho partilharão as suas conclusões e experiência numa discussão final encerrando o último dia. Pretende-se criar um espaço de debate e de intercâmbio crítico em torno das questões em tratamento, de tal forma que se efective uma reflexão colectiva partilhada por todos os participantes durante as sessões de trabalho e, mais tarde, também pela audiência, nos momentos de discussão geral. Este intercâmbio complementará os fóruns do dia anterior e da manhã e oferecerá a oportunidade de testar e partilhar metodologias de discussão e reflexão em torno das questões centrais de DESVIOS/DETOURS III.</span></span></div><div><span style="font-size:85%;color:#999999;"></span> </div><div><span style="font-size:85%;color:#999999;"></span> </div><div><strong></strong></div><div><strong></strong></div><div><strong>Fotos <span style="color:#999999;">Photos</span>:<br /></strong></div><div><strong></strong><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIxY-9BIdZcTF-WAqSZ__WAzWfG6aF1HJ_3KnZTsAgN_KeC3TRy0wmtjAdQyB3hjRhFt80z-IJJR4exZ2Vaw5npfQIr3Y11CuNQbu0VYrFzMUxlm40V-t-PtwscxLr5DTTqptwUzQldPLr/s1600-h/desvios20b+006.jpg"><img id="BLOGGER_PHOTO_ID_5135701578003342450" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIxY-9BIdZcTF-WAqSZ__WAzWfG6aF1HJ_3KnZTsAgN_KeC3TRy0wmtjAdQyB3hjRhFt80z-IJJR4exZ2Vaw5npfQIr3Y11CuNQbu0VYrFzMUxlm40V-t-PtwscxLr5DTTqptwUzQldPLr/s200/desvios20b+006.jpg" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBpUkbgfsV7QY09TQmZ3jjuNFTwCkS0gtvLOhgzs61DojbXtyr5J_Ptz5sZPCkXmcm-y53giMtYsZeIZdMZT8k3CX94LnNc7_02ZY7Q3CbUBfknE2sCT3sR2txCIzTJGoPRk5azVA4LdoO/s1600-h/desvios20b+002.jpg"><img id="BLOGGER_PHOTO_ID_5133037330540589746" style="FLOAT: left; 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MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj78Ceuyi5y7iSFUhtZ3mSQCgVf_2ua3VjPSOLXPWBs1aHgm7C7qwiKGZXUrvrMc6GonQh_l-OoAs5FXE0f4FSxpVpXntpuPXAii_Pp25bWe8k-yBIrlywdXLPygUBWLPFygk8k9rjiBHYO/s200/DSC08078.JPG" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEildgYZFpjRnw7tk9TGA0_MFIUDpEoSfAAvV_ANa2vnw3Y5DHrFoq7KDRlR93FKFDeQg7g3l6fCQSO7r3aCXeWk_QVriUGyLqKRIOXaz4LG4zBSFdP1kCX1SgUyS0ZtJNYOXvthtSXZsGp_/s1600-h/DSC08081.JPG"><img id="BLOGGER_PHOTO_ID_5133045181740806978" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEildgYZFpjRnw7tk9TGA0_MFIUDpEoSfAAvV_ANa2vnw3Y5DHrFoq7KDRlR93FKFDeQg7g3l6fCQSO7r3aCXeWk_QVriUGyLqKRIOXaz4LG4zBSFdP1kCX1SgUyS0ZtJNYOXvthtSXZsGp_/s200/DSC08081.JPG" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5JCWaanZux7ZrkUfp2EnUNiMbZYOkuG0T4EZaMj_W7ZEgj7R7nIUp1Fl6V0wrMdvTY04nd0P79WLCcifglx7tgS8ZiBzMlm9xn10uQMlkK80pg6pAZTBR8DdNZQrVWw7JwdIlSLYKS0Js/s1600-h/DSC08085.JPG"><img id="BLOGGER_PHOTO_ID_5133044125178852114" style="FLOAT: left; 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MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOoTnMwgLKjiZnWNBrvi4ZOhhy9ELMZNTAQlW1uckS6D_KEgFUxyeXPnDo2F9GJ8kwTFH-3H8dOK-uoaKZSBUiapvaDc_N_DcACd1mm_8UZxLPOQ0prMpwig6vjSqgllY1X0cy7hsob-CP/s200/DSC08086.JPG" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQa9ydSc5OZn1kdlJhy7u1O_i54f7aF3EMCH74PpILYVAiV-qZRXb1pek4EWGJro8Ivzbpfxv5LP7kMxZj738achlGZTPRrQW_tufozynH-w1GGFPSo_AH7lzu0rSRX-4-UTQ2en6p-gD0/s1600-h/DSC08080.JPG"><img id="BLOGGER_PHOTO_ID_5133044022099636994" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQa9ydSc5OZn1kdlJhy7u1O_i54f7aF3EMCH74PpILYVAiV-qZRXb1pek4EWGJro8Ivzbpfxv5LP7kMxZj738achlGZTPRrQW_tufozynH-w1GGFPSo_AH7lzu0rSRX-4-UTQ2en6p-gD0/s200/DSC08080.JPG" border="0" /></a> </div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbR4gEZgavQrLmCnD_zpY7N6SrevaaiYaB05UMbXhh2d3GA3Yw8qxEob3ieplAsJPXu4V8cQU08ps68E-Fzbg9mmmpxAmclssN1WvJ08CzC3LUSkZueDGTixCc2x72wURvxihBiUi9yCjf/s1600-h/DSC08084.JPG"><img id="BLOGGER_PHOTO_ID_5135703888695747730" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbR4gEZgavQrLmCnD_zpY7N6SrevaaiYaB05UMbXhh2d3GA3Yw8qxEob3ieplAsJPXu4V8cQU08ps68E-Fzbg9mmmpxAmclssN1WvJ08CzC3LUSkZueDGTixCc2x72wURvxihBiUi9yCjf/s200/DSC08084.JPG" border="0" /></a><br /><div><br /><br /><br /><br /><br /><br /></div><br /><div></div><br /><div><br /><br /><span style="font-size:85%;"></span></div><div><span style="font-size:85%;">fotos <span style="color:#999999;">photos</span> © Cristiana Rocha (PT)</span> </div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div>Transformahttp://www.blogger.com/profile/11139847328945551611noreply@blogger.com0tag:blogger.com,1999:blog-4488264026585420216.post-41202944861274015702007-10-30T14:05:00.000+00:002007-10-30T14:11:49.814+00:00<span style="font-family:georgia;font-size:85%;"><span style="color:#000000;"><span style="font-size:130%;"><strong></strong></span></span></span><br /><span style="font-family:georgia;font-size:85%;"><span style="color:#000000;"><span style="font-size:130%;"><strong>Preâmbulo</strong></span><br /><br />TRANSFORMA_B é uma plataforma de encontro entre as artes, a criatividade e a cidade, celebrada enquanto espaço de confluências. Um espaço experiencial de eleição, qual corpo por localizar, por identificar, por preencher, continente (de relações, vivências, emoções, lembranças) em constante devir. Um espaço ainda e sempre por ensaiar… como o mundo!<br />É um evento que escapa à definição convencional de festival ou de exposição, na medida em que se situa precisamente no cruzamento dessas duas abordagens e na tentativa de estabelecer um forte diálogo com a cidade, aqui encarada quer enquanto palco e cenário para acolhimento dos diversos projectos, quer ainda como ‘conceito’ e ‘matéria’ de trabalho para os mesmos. Grande parte do trabalho que será apresentado escapa formalmente às categorizações das diversas disciplinas artísticas, foi comissionado propositadamente para este evento e teve desenvolvimento local a partir de residências de pesquisa e de criação, é em diversas situações informado por interesses estéticos e por preocupações marcadamente relacionados com o social e com o político, e explora modos de apresentação diversificados com o intuito de provocar e de alargar a percepção do observador sobre a arte e a cidade.<br />Esta primeira plataforma TRANSFORMA_B explora a relação das artes com os diversos ‘territórios’ da cidade, identificando-os, equacionando o papel catalizador das artes e da criatividade na sua reconfiguração e debatendo processos interactivos de enunciação e de troca. Propaga-se por quatro áreas de actividade - Pensamento, Criação, Edição e Diálogo/Envolvimento -, promovendo um cruzamento desejavelmente rico e diversificado de perspectivas de forte teor crítico e criativo sobre a arte e a reconfiguração do espaço urbano e sobre as problemáticas associadas ao seu desenvolvimento na contemporaneidade (políticas, económicas e sociais). Decorrerá entre Outubro e Novembro de 2007, com o intuito estratégico de Investigar, de Experimentar e de Promover formas sustentadas de actuação sobre o espaço real-social da cidade, e de a impulsionar, fazendo recurso dos processos criativos como ferramenta de eleição. Porquê? Porque as artes e a criatividade são a “…mais global experiência do mundo. Porque são, simultaneamente, experiência de si e experiência do outro” 1.<br />É a primeira plataforma desta escala organizada no contexto do novo programa artístico desenvolvido pela Transforma AC, sobretudo centrado na pesquisa e no reforço do seu papel de facilitador e de associador face à particularidade do contexto social (cultural, político e económico) em que se inscreve e do meio artístico com o qual opera, tentando promover a inclusão de mecanismos promotores do acesso e o desenvolvimento de formas de relacionamento efectivas entre os diversos intervenientes, e a criação de espaços de encontro (versáteis e legitimadores) que suportem a aquisição de conhecimentos, a troca e a construção de novas experiências artísticas assim como a investigação e a criação centrados na pessoa e no compromisso de um diálogo com a especificidade do lugar.<br />É precisamente a partir da importância que a problemática da especificidade obteve no âmbito do trabalho anteriormente desenvolvido pela Transforma AC, o qual, aliás, ocupa uma posição de grande importância nas práticas artísticas contemporâneas, que se sentiu ser necessário prosseguir esta pesquisa, centrada numa atenção muito particular ao princípio de participação e ao conceito de lugar (por contraste com a instituição do global), e criaram uma pertinência acrescida para um projecto desta natureza.<br /><br />“(...) It is perhaps no surprise, then, that the efforts to retrieve lost differences, or to curtail their waning, become heavily invested in reconnecting to uniqueness of place – or more precisely, in establishing authenticity of meaning, memory, histories, and identities as a differential function of places.”</span></span><br /><span style="font-family:georgia;font-size:85%;"><span style="color:#000000;"><span style="font-size:78%;">Miwon Kwon (2002:157, One place After Another) 2<br /></span><br />É precisamente o emergir da importância diferencial dos lugares (de que nos fala Kwon) – que as primeiras manifestações site-specific (as obras site-specific minimalistas dos anos sessenta do século passado) souberam equacionar e estruturar (com base na trilogia obra, observador e lugar) – que, associado ao advento da globalização, fez progredir a discussão da necessidade de instaurar uma dinâmica paralela e reactiva face à tendência para a homogeneização. Esta nova dinâmica está fundamentada em processos de negociação, que têm por premissa contribuir para recuperar as diferenças e as peculiaridades desaparecidas, e, deste modo, reverter para o reforço da unicidade dos lugares (estruturados ainda com base na mesma trilogia), embora se tenham redefinido e expandido cada um dos conceitos e, com isso, se tenham alargado e diversificado enormemente os seus campos de influência recíproca e o resultado dos mesmos. Neste quadro, os lugares adquirem actualmente uma complexidade que já não cabe nas explicações da site-specificity. O lugar há muito que deixou de ser um espaço geométrico com uma localização fixa e inflexível, e contemporaneamente incorpora todo um conjunto de significações que derivam do facto de ele ser socialmente produzido (Henri Lefebvre), isto é, de ser definido como uma situação participada (hibridizada) por um largo espectro de saberes 3, associados à sua economicidade, à sua importância política/estratégica.<br />O lugar, enquanto situação ou contexto específico, apresenta-se assim como um novo paradigma, uma nova armadura que suporta uma prática artística e cultural aberta e dinâmica, apoiada numa nova linguagem (a do acesso), em possibilidades renovadas de comunicação e em estruturas organizativas e de programação reconfiguradas e capazes de lançar novas pontes no sentido da instauração de um vasto conjunto de dinâmicas relacionais e institucionais – ao nível da economia, da sociedade, da cultura e da política, em torno de questões tão determinantes para a afirmação da actividade artística quanto os mecanismos de produção, de distribuição, de validação e de participação no sistema da arte.<br />Mas de que modo é que uma abordagem contemporânea a estes conceitos – social, especificidade, acesso, participação e lugar - afecta as práticas artísticas, quer ao nível da criação e da produção, quer ainda ao nível da programação e da circulação? Poderão estas abordagens / obras facilitar o acesso dos públicos e das organizações às práticas artísticas contemporâneas? Em que circunstâncias? E com que benefícios para uns e para outros? Poderão esses benefícios ser transformados em mais-valias (experienciais, económicas, competitivas) para a reconfiguração e para a afirmação de um determinado contexto ou de uma cidade? De que modo? E como poderão os diversos agentes artísticos criar programas que fomentem esta interacção e o acesso sem privilegiar o social e o económico sobre o artístico (como refere Claire Doherty, 2004 4)?<br />Estas questões e os conceitos que acabámos de enunciar são o objecto central desta plataforma TRANSFORMA_B, e dão origem / propõem uma configuração distinta a este evento. Assim, esta plataforma assume a especificidade vivencial que é construída a partir da ligação a “(…) circunstâncias e a situações, a narrativas históricas e a agendas sociais e políticas (…)” (Doherty, 2004 5), e a localização 6 únicas desta cidade como matéria principal. Uma especificidade vivencial que se afirma, de forma inequívoca, como uma contemporânea reacção face às “tendências universalizantes do modernismo” (Kwon), na medida em que se pressente que a afirmação diferenciada de “(…) um novo espaço não pode nascer (ser produzida) a menos que acentue as suas diferenças (…)” 7.<br />São matérias por discutir e que nos sugerem também a necessidade de instaurar diversas outras experiências – relacionais (sensoriais / intelectuais) -, na tentativa de identificar clara e inequivocamente este outro lugar.<br />Pelo TRANSFORMA_B passarão personalidades dos mais diversos quadrantes, (das artes, das letras, das ciências sociais, da economia), jovens em início de carreira e profissionais afirmados, nacionais e internacionais, que irão discutir a arte que toma a cidade como esse outro território por descobrir - humano, social, económico, social, político, cultural. Um território ainda e sempre por ensaiar… como o mundo!<br /><br />Luís Firmo / Direcção Curatorial</span></span><br /><span style="font-family:georgia;font-size:85%;color:#000000;"></span><br /><span style="font-family:georgia;font-size:78%;color:#000000;">1 Paulo Cunha e Silva; A-experiência-do-corpo-enquanto-experiência-do-mundo-enquanto-experiência-da-arte; in INTUS, Helena Almeida – Representação Portuguesa à 51.ª Bienal de Veneza; Catálogo; org. Isabel Carlos; ed. Livraria Civilização Editora; Lisboa; Portugal; 2005; pp. 8-9.<br />2 Miwon Kwon; One Place After Another: Site-Specific Art and Locational Identity; MIT Press; Cambridge – Massachussetts, Londres; Inglaterra; 2002.<br />3 e aqui representadas na figura do observador (ou pessoa participante) que, como nos diz Gabriela Vaz-Pinheiro; Da Especificidade à Transferabilidade, Debatendo Práticas Artísticas Plae-Specific; in ArtinSite; Transforma AC / Torres Vedras, 1 – Memórias e Identidades, Jul 2004; pp. 10 – 27), também já não é meramente considerado “como uma entidade abstracta, mas como um sujeito múltiplo, reflectindo a ideia de multiplicidade na ‘identidade dos lugares’”.<br />4 Claire Doherty; The Institution is Dead! Long Live the Institution!; in Engage; Londres; Inglaterra; 2004: 07.<br />5 Claire Doherty; Location; in Art Monthly; 281, Nov.2004; pp.279-282<br />6 … que emerge como um renovado paradigma da criação artística contemporânea...<br />7 orientação precisamente contrária à preconizada pela herança modernista, no quadro da qual, refere ainda Kwon citando H. Lefebvre, “(…) o espaço (é entendido como algo) abstracto (e) tende para a homogeneização, para a eliminação das diferenças e das peculiaridades existentes (…)”.</span><br /><span style="font-family:georgia;font-size:85%;color:#000000;"></span><br /><span style="font-family:georgia;font-size:85%;"><span style="color:#999999;"><strong><span style="font-size:130%;">Foreword</span></strong><br /><br />TRANSFORMA_B is a meeting platform for arts, creativity and the city, celebrated as a space of confluence. An experiential place of choice, that works as a body which was not located, identified, accomplished yet, a continent (of relations, experiences, emotions, memories) in constant shifting. A space that is still and will always be unrehearsed … as the world!<br />It is an event that escapes the customary definition of festival or exhibition, since it is situated precisely in the crossing of those two approaches and in the attempt to establish a strong dialogue with the city, here considered both as a stage and stage-setting to welcome the different projects, and also as a work “concept” and “matter” for those same projects. A vast amount of the work that will be presented formally eludes the categorizations of the several artistic disciplines; it was specially commissioned for this event and was developed locally via research and creation residences. In several situations it is informed by aesthetic interests and by concerns deeply related with the social and political, and exploits diversified presentation forms, trying at the same time to provoke and widen the observer’s perception regarding art and the city.<br />The first TRANSFORMA_B platform explores the relation between arts and the different “territories” of the city, identifying them, analysing the catalyst role of arts and creativity in their reconfiguration, and debating interactive processes of enunciation and exchange. It includes four activity areas – Thought, Creation, Publishing and Dialogue/Implication – promoting a crossing of strong critical and creative perspectives, that one desires to be rich and diversified, concerning art and the reconfiguration of the urban space and also the problems related with its development in contemporaneity (political, economic and social). The event will take place between October and November 2007. Its strategic aim is to Investigate, Experiment and Promote sustained forms of performance regarding the real-social space of the city, and to impel them, using creative processes as tools of choice. Why? Because arts and creativity are the “…most global experience in the world. Because they are, simultaneously, experience in itself and the experience of the other” 1.<br />This is the first large platform organized in the context of the new artistic program developed by Transforma AC, particularly centred in research and the reinforcement of its facilitating and associative role in view of its social context specificity (cultural, political and economic) and the artistic milieu with which it operates, trying to promote the inclusion of promotional mechanisms of access and the development of actual relationships between the several participants, and the creation of meeting spaces (versatile and legitimizing) that can support the acquiring of knowledge, and the exchange and construction of new artistic experiences, as well as the research and creation centred in the person and in the commitment of a dialogue with the specificity of the place.<br />It was precisely due to the importance showed by the problematic of specificity under the scope of the work developed previously by Transforma AC, which, furthermore, occupies a position of great importance in contemporary artistic practices, that we felt the need to further this research, focused in a particular attention to the principle of participation and the concept of place (in contrast with the institution of the global), and generate an augmented pertinence for a project of this nature.<br /><br />“(...) It is perhaps no surprise, then, that the efforts to retrieve lost differences, or to curtail their waning, become heavily invested in reconnecting to uniqueness of place – or more precisely, in establishing authenticity of meaning, memory, histories, and identities as a differential function of places.”<br /></span><span style="color:#999999;"><span style="font-size:78%;">Miwon Kwon (2002:157, One place After Another) 2<br /></span><br />It is precisely the emerging of the differential importance of places (that Kwon talks about) – that the first site-specific manifestations (minimalist site-specific works of the 70s) knew how to analyse and structure (based on the trilogy, work, observer and place) – which, associated with the advent of globalization, progressed the discussion regarding the necessity to institute a parallel and reactive dynamic in view of an homogenization tendency. This new dynamic is based on negotiation processes that aim to contribute to the recovery of missing differences and peculiarities, and, therefore, contribute to the reinforcement of the uniqueness of the places (structured using the same trilogy), although each concept has been redefined and expanded, and, consequently, its reciprocal fields and results have also been widened and diversified. Under this context the places presently acquire a complexity that no longer fits in the site-specificity explanations. The place is no longer a geometrical space with a fixed and rigid localization, and now it incorporates an entire set of meanings that derive from the fact it is socially produced (Henri Lefebvre), i.e., it is defined as a situation imparted (hybridized) by a large spectre of knowledge 3, associated with its economic status and political/strategic importance.<br />The place, as a situation or specific context, presents itself as a new paradigm, a new armour that supports an open and dynamic artistic and cultural practice, based on a new language (the one of access), on renewed communication possibilities, and also organizational and programming structures capable of building new bridges in order to create a vast set of relational and institutional dynamics - at the level of economy, society, culture and politics, around questions that are so important for the affirmation of the artistic activity regarding production, distribution, validation and participation mechanisms in the art system.<br />In what way does a contemporary approach to these concepts – social, specificity, access, participation and place – influence the artistic practices, both at the level of creation and production, and also at the level of programming and circulation? Can these approaches / works facilitate the access of audiences and organizations to contemporary artistic practices? Under which circumstances? And what benefits can audiences and organizations expect to get? Can these benefits be transformed in surplus value (experiential, economic, competitive) for the reconfiguration and the affirmation of a certain context or a city? In what way? And how can the several artistic agents create programmes that stimulate this interaction and the access without favouring the social and economic over the artistic (as stated by Claire Doherty, 2004 4)?<br />The questions and concepts that we have just enunciated are the central object of the TRANSFORMA_B platform, and give origin / propose a distinct configuration to this event. Therefore, this platform assumes the experiential specificity that is built on the connection to “(…) circumstances and situations, historical narratives and political and social agendas (…)” (Doherty, 2004 5), and the unique localization 6 of this city as the main matter. An experiential specificity that is asserted, in an unequivocal way, as a contemporary reaction to the “universalizing tendencies of modernism” (Kwon), insofar as one can sense that the differentiated affirmation of “(…) a new space may not be created (be produced) unless its differences are accentuated (…)” 7.<br />These are topics that have not been discussed and that suggest the necessity to establish several other experiences – relational (sensorial / intellectual) -, in an attempt to identify clearly and unequivocally that other place.<br />Personalities from several different areas will participate in TRANSFORMA_B, (art, literature, social sciences, and economy), also young people starting their careers and professionals with a long career, national and international, that will discuss the art that takes the city as that other territory still to be discovered - human, social, economic, social, political, cultural. A territory that is still and will always be unrehearsed … as the world!<br /><br />Luís Firmo / Curatorial Direction</span></span><br /><span style="font-family:georgia;font-size:85%;color:#999999;"></span><br /><span style="font-family:georgia;font-size:78%;color:#999999;">1 Paulo Cunha e Silva; A-experiência-do-corpo-enquanto-experiência-do-mundo-enquanto-experiência-da-arte; in INTUS, Helena Almeida – Representação Portuguesa à 51.ª Bienal de Veneza; Catálogo; org. Isabel Carlos; ed. Livraria Civilização Editora; Lisboa; Portugal; 2005; pages. 8-9.<br />2 Miwon Kwon; One Place After Another: Site-Specific Art and Locational Identity; MIT Press; Cambridge – Massachussetts, London; England; 2002.<br />3 and represented here by the figure of the observer (or participating person) that, as Gabriela Vaz-Pinheiro states; Da Especificidade à Transferabilidade, Debatendo Práticas Artísticas Plae-Specific; in ArtinSite; Transforma AC / Torres Vedras, 1 – Memórias e Identidades, Jul 2004; pages. 10 – 27), is no longer considered merely “as na abstract identity, but as a multiple subject, reflectinf the idea of multiplicity in the ‘identity of places”.<br />4 Claire Doherty; The Institution is Dead! Long Live the Institution!; in Engage; London; England; 2004: 07.<br />5 Claire Doherty; Location; in Art Monthly; 281, Nov.2004; pages.279-282<br />6 … that emerges as a renewed paradigm of contemporary artistic creation...<br />7 an orientation that is precisely contrary to the one preconised by the modernist heritage, in the framing of which, Kwon still refers by quoting H. Lefebvre that, “(…) the space (is understood as something that) is abstract (and) tends to homogeneization, the erasing of existing differences and peculiarities (…)”.</span><br /><span style="font-family:georgia;font-size:85%;color:#000000;"></span><br /><span style="font-family:georgia;font-size:85%;color:#000000;">Ficha Técnica <span style="color:#999999;">Credits</span><br />Direcção Curatorial <span style="color:#999999;">Curatorial Direction</span> Luís Firmo<br />Direcção Executiva <span style="color:#999999;">Managing Direction</span> Tiago Miranda<br />Direcção Produção <span style="color:#999999;">Production Direction</span> Henrique Figueiredo<br />Direcção Técnica <span style="color:#999999;">Technical Direction</span> Jorge Borges<br />Produção <span style="color:#999999;">Production</span> Ricardo Vitorino<br />Assistência Produção <span style="color:#999999;">Production Assistant</span> Rita Sousa<br />Assistência Editorial <span style="color:#999999;">Editorial Assistant</span> Sandra Costa<br />Assistência Direcção <span style="color:#999999;">Direction Assistant</span> Judite Barreira<br />Apoio <span style="color:#999999;">Support</span> Catarina Sousa + Banco Voluntariado Torres Vedras</span>Transformahttp://www.blogger.com/profile/11139847328945551611noreply@blogger.com0tag:blogger.com,1999:blog-4488264026585420216.post-36938675736916931302007-10-11T18:47:00.000+01:002007-10-24T19:16:47.841+01:00<span style="font-size:85%;"><strong><span style="font-size:130%;"><span style="font-family:georgia;"></span></span></strong></span><br /><span style="font-size:85%;"><strong><span style="font-family:georgia;font-size:130%;">Transforma B<br />Artes, Criatividade e a Cidade </span><span style="font-family:georgia;"><span style="font-size:130%;"><span style="color:#999999;">Arts, Creativity and the City<br /></span>Onde estás? </span></span><span style="font-family:georgia;"><span style="font-size:130%;"><span style="color:#999999;">Where are you?<br /></span>Outubro Novembro <span style="color:#999999;">October November 2007</span></span></span></strong><span style="font-family:georgia;"><span style="font-size:130%;"><br /></span><br /><strong>DESVIOS / <span style="color:#999999;">DETOURS III</span></strong> conferência <span style="color:#999999;">conference</span><br />Encontro Internacional Sobre a Importância do Local no Pensamento e na Arte Contemporâneos - </span><span style="font-family:georgia;"><em>Espaços Relacionais: O Novo Campo Expandido Para a Arte e Pensamento<br /></em><span style="color:#999999;">International Forum on the Relevance of the Local for Contemporary Thought and Art - <em>Relational Spaces: the new expanded field for art and thought</em></span></span></span><span style="font-family:georgia;"><br /></span><span style="font-family:georgia;"><span style="font-size:85%;">Curadoria de <span style="color:#999999;">Curated by:</span> GABRIELA VAZ-PINHEIRO (PT)<br />Participantes <span style="color:#999999;">Participants</span><span style="color:#999999;">:</span> ÁLVARO DOMINGUES (PT), CARLA CRUZ (PT), CARLOS BLOSS (ES), CRISTIANA ROCHA (PT), DOLORES WILBER (US), FRANCESCA FERGUSON (UK), FUTURE REFLECTIONS / CATHERINE MAFFIOLETTI, KATRINE HJELDE, MARSHA BRADFIELD (UK), GABRIELA VAZ-PINHEIRO (PT), HEITOR ALVELOS (PT), IGOR DOBRICIC (CS), ISABEL SABINO (PT), LORENZO BENEDETTI (IT), NUNO GRANDE (PT), SARA MATOS (PT), STEPHEN WRIGHT (CA)<br />Espaço de reflexão que se organiza de forma intercalada, anualmente, como conferência ou como debate/mesa redonda.</span><br /><span style="font-size:85%;"><span style="color:#999999;">A space of reflection organized annually in an intercalary way, as a conference or as a debate/round table.</span></span><br /></span><span style="font-family:georgia;"><span style="font-size:85%;">19 (Sex), 20 (Sáb) Out / 9h30 - 18h30 19th (Fri), 20th (Sat) Oct / 9:30am - 6:30pm<br />Auditório do Edifício dos Paços do Concelho <span style="color:#999999;">Paços do Concelho Auditorium</span>, Torres Vedras<br /><br /><strong>HORROR VACUI</strong> instalação <span style="color:#999999;">installation</span></span><br /><span style="font-size:85%;">MICHAEL PINSKY (UK)</span><br /></span><span style="font-size:85%;"><span style="font-family:georgia;">Horror Vacui observa e faz o mapeamento dos azulejos inerentes à arquitectura da cidade e cria uma representação decorativa, não-funcionalista da sua estrutura. Para construírem o puzzle os participantes terão de interagir entre eles. O palco onde a acção decorre é trazido pelas próprias pessoas. O vazio é preenchido.<br /></span><span style="font-family:georgia;"><span style="color:#999999;">Horror Vacui surveys and catalogues the town’s architectural tiles creating a decorative, non-functionalist representation of its structure. The participants will have to negotiate with each other to construct the puzzle. The platform supporting the people is brought by the people. The vacuum is filled.<br /></span>19 (Sex) Out / 21h00 / inauguração </span><span style="font-family:georgia;"><span style="color:#999999;">19th (Fri) Oct / 9pm / opening<br /></span>Transforma, Praça do Município - 8, Torres Vedras<br />26 Out - 17 Nov / Seg – Sáb, 10h00 - 19h00 / exposição </span><span style="font-family:georgia;"><span style="color:#999999;">26th Oct – 17th Nov / Mon – Sat, 10am - 7pm / exhibition *<br /></span>Armazém <span style="color:#999999;">warehouse</span>, Pátio Alfazema, Torres Vedras<br /><br /><strong>a mão que faz o desenho</strong> inscreve a palavra instalação <span style="color:#999999;">installation</span><br />ISABEL BARAONA (PT)<br />Este projecto teve início em Fevereiro de 2007 e foi apresentado em Haslum (Noruega), em Bruxelas e Lisboa. É um projecto assumidamente efémero: não só pela impossibilidade material de ser conservado e por ser destruído durante a desmontagem; mas, sobretudo, porque o desenho que se vê é inconstante, altera-se com o deambular do espectador em torno da vitrina.<br /></span><span style="font-family:georgia;"><span style="color:#999999;">This project started in February 2007 and was presented in Haslum (Norway), Brussels and Lisbon. It’s an ephemeral project: because it’s impossible to move it from one place to another without destroying it; but mainly because the drawings change as the spectator moves around the display.<br /></span>19 (Sex) Out / 22h00 / inauguração </span><span style="font-family:georgia;"><span style="color:#999999;">19th (Fri) Oct / 10pm / opening<br /></span>20 Out - 17 Nov / Seg – Sáb, 10h00 - 19h00 / exposição </span><span style="font-family:georgia;"><span style="color:#999999;">20th Oct – 17th Nov / Mon – Sat, 10am - 7pm / exhibition *<br /></span>Transforma, Praça do Município - 8, Torres Vedras<br /><br /><strong>A OPORTUNIDADE DO ESPECTADOR - <span style="color:#999999;">THE CURATOR’S OFFICE</span></strong><span style="color:#999999;"> </span>instalação <span style="color:#999999;">installation</span></span></span><span style="font-family:georgia;"><br /><span style="font-size:85%;">ROGÉRIO NUNO COSTA (PT)</span><br /></span><span style="font-size:85%;"><span style="font-family:georgia;">Fazer o projecto é contar a história do projecto, o que implica dizer a verdade. Dizer a verdade exige a apresentação de provas. Muitas vezes, o <em>making of</em> não é mais importante que o filme; muitas vezes o <em>making of</em> é mesmo o filme.<br /></span><span style="font-family:georgia;color:#999999;">Making the project is telling its story, which implies telling the truth. Telling the truth demands the presentation of evidences. Most of the times the making of isn’t more important than the movie; most of the times the making of is actually the movie.<br /></span></span><span style="font-family:georgia;font-size:85%;"><a href="http://www.dogma05.blogspot.com/">http://www.dogma05.blogspot.com/</a></span><span style="font-family:georgia;"><br /></span><span style="font-size:85%;"><span style="font-family:georgia;">19 (Sex) Out / 22h00 / inauguração </span><span style="font-family:georgia;"><span style="color:#999999;">19th (Fri) Oct / 10pm / opening<br /></span>20 Out - 17 Nov / Seg – Sáb, 10h00 - 19h00 / exposição </span><span style="font-family:georgia;"><span style="color:#999999;">20th Oct – 17th Nov / Mon – Sat, 10am - 7pm / exhibition *<br /></span>Transforma, Praça do Município - 8, Torres Vedras<br /><br /><strong>AROUND THE CORNER</strong> instalação vídeo <span style="color:#999999;">video installation</span></span></span><span style="font-family:georgia;"><br /></span><span style="font-size:85%;"><span style="font-family:georgia;">VITOR RORIZ (PT) + DAVIS FREEMAN (US)<br />Como é que o performer integra numa narrativa os eventos aleatórios da cidade, dando-lhes um sentido, um passado?<br /></span><span style="font-family:georgia;"><span style="color:#999999;">How the performer integrates in a narrative the random events of the city, giving them a sense, a pass?<br /></span>19 (Sex) Out / 22h00 / inauguração </span><span style="font-family:georgia;"><span style="color:#999999;">19th (Fri) Oct / 10pm / opening<br /></span>20 Out - 17 Nov / Seg – Sáb, 10h00 - 19h00 / exposição </span><span style="font-family:georgia;"><span style="color:#999999;">20th Oct – 17th Nov / Mon – Sat, 10am - 7pm / exhibition *<br /></span>Transforma, Praça do Município - 8, Torres Vedras<br /><br /><strong>CONNECTING SITES AND COMMUNITIES / ARTinSITE</strong> lançamento editorial <span style="color:#999999;">book launch</span><br />ADAM KOWALSKI (PL), ANDREAS MÜLLER (DE), ANGELA FUMAROLA (IT), ANNE JUREN (FR), ANTONIO TAGLIARINI (IT), BERTIE AMBACH (AT), CABULA6 (AT), DARIA BALDUCELLI (IT), DARIUSZ JURUS (PL), FOUAD ASFOUR (DE), GABRIELA DAEDELOW (DE), GABRIELA VAZ (PT), JEREMY XIDO (US), KÖEN KWANTEN (BE), JACEK LUMINSKI (PL), LUCA TREVISANI (IT), LUÍS FIRMO (PT), MARTIN NACHBAR (DE), MICHAEL STOLHOFER (AT), MICHAL ZADARA (PL), PATRÍCIA PORTELA (PT), SÓNIA BAPTISTA (PT), STEFANIE WENNER (DE)<br />Connecting Sites and Communities Document pretende documentar as actividades artísticas experimentais de 6 parceiros / países no âmbito do projecto europeu APAP IV – Advancing Performing Arts Project, executado entre Setembro de 2005 e Setembro de 2006, apoiado pelo Programa Cultura 2000.<br /></span><span style="font-family:georgia;"><span style="color:#999999;">The Connecting Sites and Communities Document intends to document the experimental artistic activities from 6 partners / countries within the European project APAP IV - Advancing Performing Arts Project - that occurred between September 2005 and September 2006, supported by the Culture 2000 Programme.<br /></span>19 (Sex) Out / 22h00 </span><span style="font-family:georgia;"><span style="color:#999999;">19th (Fri) Oct / 10pm<br /></span>Transforma, Praça do Município - 8, Torres Vedras<br /><br /><strong>MEETING POINT</strong> festa <span style="color:#999999;">party</span><br />19 (Sex) Out / 23h00 </span><span style="font-family:georgia;"><span style="color:#999999;">19th (Fri) Oct / 11pm<br /></span>Transforma, Praça do Município - 8, Torres Vedras<br /><br /><strong>O LABIRINTO A MORTE E O PÚBLICO</strong> performance / dança <span style="color:#999999;">performance</span> <span style="color:#999999;">/dance</span></span></span><span style="font-family:georgia;"><span style="color:#999999;"><br /></span><span style="font-size:85%;">JOÃO SAMÕES (PT)</span><br /></span><span style="font-size:85%;"><span style="font-family:georgia;">O Labirinto A Morte e O Público tem uma estrutura ritualista que explora e rompe com a clássica relação entre observador / obra.<br /></span><span style="font-family:georgia;"><span style="color:#999999;">The O Labirinto A Morte e O Público has a ritualistic structure which explores and breaks with the classical observer / artistic creation relation.<br /></span>20 (Sáb), 21 (Dom) Out / 21h30 </span><span style="font-family:georgia;"><span style="color:#999999;">20th (Sat), 21 (Sun) Oct / 9:30pm<br /></span>Transforma, Praça do Município - 8, Torres Vedras<br /><br /><strong>APAP_LABORATÓRIO ARTÍSTICO INTERNACIONAL <span style="color:#999999;">INTERNATIONAL ARTS LABORATORY</span></strong><span style="color:#999999;"> </span>encontro internacional </span><span style="font-family:georgia;color:#999999;">international meeting<br /></span><span style="font-family:georgia;"><em>APAP VI _ The Art of Survival<br /></em>Participantes <span style="color:#999999;">Participants: </span>ADAM KOWALSKI (PL), ANGELA FUMAROLA (IT), ANNA PIOTROWSKA (PL), ANTONIO PIZZICATO (IT), BARBARA RAES (BE), BEN BENAOUISSE (BE), BERTIE AMBACH (AT), CABULA6 (AT) / JEREMY XIDO (US) / CLAUDIA HEU (AT), DIEGO GIL (AR), FRANKY DEVOS (BE), HELMUT PLOEBST (AT), IGOR DOBRICIC (CS), JIANG ZHI (CN), JUHA PEKKA MARSALO (FI), KOEN KWANTEN (BE), LINA SANEH (LB), LUDGER ORLOCK (DE), LUÍS FIRMO (PT), MARKUS SCHINWALD (AT), MEKHITAR GARABEDIAN (BE), MICHAEL PINSKY (UK), MICHAEL STOLHOFER (AT), NAGINEVICIUTE ADOM AIRA (LT), ROGER BERNAT (ES), ROMAN KUSNIERZ (PL), RUI SILVEIRA (ES), SARA ORSELLI (IT), TIAGO MIRANDA (PT)<br />APAP – Advancing Performing Arts Project é uma parceria Europeia para apoiar artistas emergentes e práticas artísticas. Este encontro internacional de artistas e programadores é um primeiro momento de trabalho intenso para todos os seus participantes com o objectivo de trocarem ideias, discutirem e darem a conhecer os seus planos de trabalho no contexto do projecto APAP-VI “THE ART OF SURVIVAL”.<br /></span><span style="font-family:georgia;"><span style="color:#999999;">APAP – Advancing Performing Arts Project is a European collaboration to support emerging artists and art practices. This international artists and programmers meeting is a first labour intensive moment for all the participants in this new APAP moment to exchange ideas and discuss and network their working plans in the context of APAP-VI project “THE ART OF SURVIVAL”.<br /></span>21 (Dom), 22 (Seg) Out / 10h00 - 18h00 </span><span style="font-family:georgia;"><span style="color:#999999;">21st (Sun), 22nd (Mon) Oct / 10am - 6pm<br /></span>Transforma, Praça do Município - 8, Torres Vedras</span></span><span style="font-family:georgia;"><br /></span><span style="font-size:85%;"><br /><span style="font-family:georgia;"><strong>THE ART OF SURVIVAL</strong> palestra <span style="color:#999999;">lecture</span><br />MICHAEL PINSKY (UK)<br />Para cada novo projecto Pinsky responde apropriadamente ao espaço físico e sociológico onde o trabalho tem lugar. O contexto é crucial, providenciando quer o contexto quer a plataforma para a obra. O seu trabalho tem-se dirigido para uma área que ele apelida de ‘found performance’. Através do uso do vídeo, em directo ou gravado, as acções pré-existentes das pessoas e objectos dão forma à substância visual das suas obras.<br /></span><span style="font-family:georgia;"><span style="color:#999999;">For each new project Pinsky responds site-specifically to the physical and sociological space in which the work exists. Context is crucial, providing both the content and the platform for the work. Pinsky's work has gravitated to an area, which he calls ‘found performance’. Through the use of video, live and pre-recorded, the pre-existing actions of people and objects create the visual substance of his work<br /></span>21 (Dom) Out </span><span style="font-family:georgia;"><span style="color:#999999;">21st (Sun) Oct<br /></span>Transforma, Praça do Município - 8, Torres Vedras<br /><br /><strong>UMA CASA NO CASTELO</strong> intervenção multidisciplinar <span style="color:#999999;">multidisciplinary intervention</span><br />Curadoria de Curated by: ISABEL BARAONA (PT)<br />ADÉLIA CALDEANO, CARLOS ALVES, DAVID MONTEIRO, DIOGO MARTINS, EDUARDA SILVA, EDUARDO MALÉ, FILIPE FRAZÃO, IVAN BARROSO, JORGE REIS, LUCAS ALMEIDA, LUÍS SIMÕES, MARISA GONÇALVES, MARISA TEIXEIRA, MARTA MACHADO, RITA MANUEL, TERESA MARIANA SILVA<br />O carácter privilegiado do espaço expositivo onde se realiza Uma Casa no Castelo permite uma mostra de trabalhos diversificada em termos de abordagens, técnicas, materiais e dimensões, efectuados por alunos dos cursos de Artes Plásticas e de Animação Cultural da ESAD.CR., em resposta a um desafio lançado pela Transforma.<br /></span><span style="font-family:georgia;"><span style="color:#999999;">The privileged character of the space where Uma Casa no Castelo takes place allows an exhibition of different kinds of projects, in terms of approaches, techniques, materials and dimensions, done by Fine Arts and Cultural Animation students from ESAD.CR, as an answer to Transforma’s invitation.<br /></span>26 (Sex) Out / 18h30 / inauguração </span><span style="font-family:georgia;"><span style="color:#999999;">26th (Fri) Oct / 6:30pm / opening<br /></span>27 (Sáb) Out - 17 (Sáb) Nov / Seg - Sáb / 10h00 - 19h00 / exposição </span><span style="font-family:georgia;"><span style="color:#999999;">27th (Fri) Oct - 17 (Sat) Nov / Mon – Sat / 10am - 7pm / exhibition *<br /></span>Casa do Castelo, Rua Capitão Luís Boto Pimentel (antiga <span style="color:#999999;">former</span> Rua do Castelo) - 11, Torres Vedras<br /><br /><strong>ON EARTH</strong> documentário instalação <span style="color:#999999;">documentary installation</span><br />CABULA6 (AT) JEREMY XIDO (US) + CLAUDIA HEU (AT)<br />On Earth é um projecto sobre viagens e encontros com mundos diferentes. Como é que chegámos aqui? Como é que aqueles que me rodeiam chegaram aqui?<br /></span><span style="font-family:georgia;"><span style="color:#999999;">On Earth is about travelling and the meeting of different worlds. How did I arrive here? How did those surrounding me arrive here?<br /></span>26 (Sex) Out / 18h30 / inauguração </span><span style="font-family:georgia;"><span style="color:#999999;">26th (Fri) Oct / 6:30pm / opening<br /></span>27 (Sáb) Out - 17 (Sáb) Nov / Seg - Sáb / 16h00 - 19h00 / exposição </span><span style="font-family:georgia;"><span style="color:#999999;">27th (Fri) Oct - 17 (Sat) Nov / Mon – Sat / 4pm - 7pm / exhibition *<br /></span>Armazém <span style="color:#999999;">warehouse</span>, Pátio Alfazema, Torres Vedras<br /><br /><strong>MEETING POINT</strong> festa <span style="color:#999999;">party</span><br />26 (Sex) Out / 23h00 <span style="color:#999999;">26th (Fri) Oct / 11pm</span><br />Transforma, Praça do Município - 8, Torres Vedras<br /><br /><strong>TTT TRANSFORMA THINK TANK</strong><br />Onde é que fazes, o que fazes? <span style="color:#999999;">Where do you do, what you do?</span><br />Este Think Tank explora a produção criativa enquanto factor de desenvolvimento competitivo de uma determinada cidade, região ou país e o potencial da importância da liderança e comercialidade no seio do sector cultural, tendo a Transforma e a cidade de Torres Vedras como casos de estudo.<br /></span><span style="font-family:georgia;"><span style="color:#999999;">This Think Tank intends to explore the role of creative production within the development of the competitive edge of any given city, region or country and the potential importance of leadership, and commerciality within the cultural sector, considering Transforma and Torres Vedras city as case studies.<br /></span>BRONAC FERRAN (UK), CÁTIA COIAS (PT), DINGEMAN KUILMAN (NL), FRED MANSON (UK), HENRY LYDIATE (UK), LIZ LYDIATE (UK), MICHAEL DACOSTA BABB (UK), ROGÉRIO TAVARES (PT), SCOTT BURNHAM (US) (entre outros oradores convidados <span style="color:#999999;">among several other key participants</span>)<br />2 (Sex), 3 (Sáb) Nov / 9h30 - 19h30 </span><span style="font-family:georgia;"><span style="color:#999999;">2nd (Fri), 3rd (Sat) Nov / 9:30am - 7:30pm<br /></span>Transforma, Praça do Município - 8, Torres Vedras<br /><br /><strong>TTT TRANSFORMA THINK TANK</strong> lançamento editorial </span><span style="font-family:georgia;"><span style="color:#999999;">book launch<br /></span>Michael Dacosta Babb (uk), Andrew Carmichael (uk), Carlos Miguel (pt), Daniel Alegria Dos Reis (pt), Daniel Pires (pt), Jeremy Xido (us), Liz Lydiate (uk), Pedro Gadanho (pt), Scott Burnham (us), Dingeman Kuilman (nl)<br />O TTT Transforma Think Tank (2006) resulta do primeiro “think tank” internacional organizado em 2006 no contexto do evento A8_Laboratório, no qual participou um conjunto internacional de especialistas com o objectivo de discutir o papel da produção criativa no desenvolvimento competitivo da cidade.<br /></span><span style="font-family:georgia;"><span style="color:#999999;">The TTT Transforma Think Tank (2006) is the result of the first international “think tank” that took place at the A8_Lab event, on 2006. Several international specialists had as a purpose to discuss the role of creative production in the competitive development of the city.<br /></span>2 (Sex) <span style="color:#999999;">2nd (Fri) Nov</span><br />Transforma, Praça do Município - 8, Torres Vedras<br /><br /><strong>FUCK QUARTA PAREDE</strong> performance<br />A Oportunidade do Espectador_Dogma Project (Caldas da Rainha)<br />JOANA VAZ (PT)<br /><em>Fuck Quarta Parede</em> é um projecto que pretende derrubá-la (a parede quarta) para depois vender pedaços vandalizados em jeito de souvenir.<br /></span><span style="font-family:georgia;"><span style="color:#999999;"><em>Fuck Quarta Parede</em> is a project that intends to knock down an imaginary wall to then sell its vandalized pieces as a souvenir.<br /></span>www.fuckquartaparede.blogspot.com<br />2 (Sex ), 3 (Sáb) Nov / 18h30 - 23h00 <span style="color:#999999;">2nd (Fri), 3rd (Sat) Nov / 6:30pm - 11pm</span><br />Transforma, Praça do Município - 8, Torres Vedras<br /><br /><strong>APRESENTAÇÃO PÚBLICA</strong> performance/vídeo documentário <span style="color:#999999;">performance/documentary video</span><br />A Oportunidade do Espectador_Dogma Project (Porto)<br />CRISTIANA ROCHA (PT)<br />Os mecanismos inerentes à própria ideia de apresentação pública no contexto do espectáculo.<br /></span><span style="font-family:georgia;"><span style="color:#999999;">The mechanisms associated to the idea of public presentation within the context of performance.<br /></span>www.publicpresentation.blogspot.com<br />2 (Sex), 3 (Sáb) Nov / 18h30 - 23h00 </span><span style="font-family:georgia;"><span style="color:#999999;">2nd (Fri), 3rd (Sat) Nov / 6:30pm - 11pm / performance<br /></span>5 (Seg) – 17 (Sáb) Nov / Seg – Sáb / 16h00 - 19h00 / vídeo documentário </span><span style="font-family:georgia;"><span style="color:#999999;">5th (Mon) – 17th (Sat) Nov / Mon – Sat / 4pm - 7pm / documentary video *<br /></span>Transforma, Praça do Município - 8, Torres Vedras<br /><br /><strong>APRESENTAÇÃO</strong> intervenção terrorista <span style="color:#999999;">terrorist intervention</span><br />A Oportunidade do Espectador_Dogma Project (Porto)<br />DINIS MACHADO (PT)<br />Tudo o que faz parte do meu currículo habitual deve ser o que menos reflecte aquilo que penso.<br /></span><span style="font-family:georgia;"><span style="color:#999999;">My CV must be the thing that least expresses what I think.<br /></span>www.oportunidadedinis.blogspot.com<br />2 (Sex), 3 (Sáb) Nov / 18h30 - 23h00 </span><span style="font-family:georgia;"><span style="color:#999999;">2nd (Fri), 3rd (Sat) Nov / 6:30pm - 11pm<br /></span>Transforma, Praça do Município - 8, Torres Vedras<br /><br /><strong>PERFORMAR-ME A TI</strong> performance<br />A Oportunidade do Espectador_Dogma Project (Porto)<br />JOANA CAMPOS SILVA (PT)<br />O espectador é mais importante; por esse motivo, continuarei a ser o corpo e o espectador, o mentor.<br /></span><span style="font-family:georgia;"><span style="color:#999999;">The most important thing is the spectator; for that reason, I’ll continue to be the body and the spectator, the leader.<br /></span>www.fugaemmim.blogspot.com<br />2 (Sex), 3 (Sáb) Nov / 18h30 - 23h00 </span><span style="font-family:georgia;"><span style="color:#999999;">2nd (Fri), 3rd (Sat) Nov / 6:30pm - 11pm<br /></span>Transforma, Praça do Município - 8, Torres Vedras<br /><br /><strong>LIFE PROJECT</strong> instalação <span style="color:#999999;">installation</span><br />A Oportunidade do Espectador_Dogma Project (Lisboa)<br />ARTUR FÉLIX (PT)<br />Ao maníaco parece legítimo tudo sacrificar pelo objecto da sua atenção.<br /></span><span style="font-family:georgia;"><span style="color:#999999;">To the maniac it seems legitimate to sacrifice all for the object of his attention.<br /></span>www.lifeprojectjournal.blogspot.com<br />2 (Sex) Nov / 18h30 / inauguração </span><span style="font-family:georgia;"><span style="color:#999999;">2nd (Fri) Nov / 6:30pm / opening<br /></span>3 (Sáb) - 17 (Sáb) Nov / Seg – Sáb / 16h00 - 19h00 / exposição </span><span style="font-family:georgia;"><span style="color:#999999;">3rd (Sat) – 17th (Sat) Nov / Mon – Sat / 4pm - 7pm / exhibition *<br /></span>Transforma, Praça do Município - 8, Torres Vedras<br /><br /><strong>SOLO</strong> performance<br />A Oportunidade do Espectador_Dogma Project (Hamburgo)<br />NATASCHA MOSCHINI (DE)<br />A minha questão: Porquê mover-nos? Porquê criar material para movimento?<br /></span><span style="font-family:georgia;"><span style="color:#999999;">My question is: Why move? Why creating movement material?<br /></span>www.moschini.blogspot.com<br />2 (Sex), 3 (Sáb) Nov / 18h30 - 23h00 </span><span style="font-family:georgia;"><span style="color:#999999;">2nd (Fri), 3rd (Sat) Nov / 6:30pm - 11pm<br /></span>Transforma, Praça do Município - 8, Torres Vedras<br /><br /><strong>MEETING POINT</strong> festa <span style="color:#999999;">party</span><br />2 (Sex) Nov / 23h00 </span><span style="font-family:georgia;"><span style="color:#999999;">2nd (Fri) Nov / 11pm<br /></span>Transforma, Praça do Município - 8, Torres Vedras<br /><br /><strong>DESEDIFICAR O HOMEM</strong> exposição <span style="color:#999999;">exhibition</span><br />Curadoria de <span style="color:#999999;">Curated by:</span> HUGO DINIS (PT)<br />Inserida no novo programa de itinerâncias da Colecção de Serralves – ANTENA – esta exposição, protocolada com a Câmara Municipal de Torres Vedras, propõe algumas aproximações da arte contemporânea à discussão sobre o género masculino.<br /></span><span style="font-family:georgia;"><span style="color:#999999;">This exhibition is part of the new programme of itinerant exhibitions, featuring works from the Serralves Foundation's collection – Antena -, an agreement with Torres Vedras Municipality, proposes a discussion on the masculine gender through the perspective of contemporaneous art.<br /></span>10 (Sáb) Nov / 21h30 / inauguração </span><span style="font-family:georgia;"><span style="color:#999999;">10th (Sat) Nov / 9:30pm / opening<br /></span>12 (Seg) Nov - 12 (Sáb) Jan 2008 / Seg - Sáb / 10h00 - 19h00 / exposição </span><span style="font-family:georgia;"><span style="color:#999999;">12th (Mon) Nov - 12 (Sat) Jan 2008 / Mon – Sat / 10am - 7pm / exhibition *<br /></span>Transforma + Galeria Municipal Paços do Concelho + Doispaços Galeria Municipal, Praça do Município, Torres Vedras<br /><br /><strong>IMAGENS EM MOVIMENTO</strong> instalação <span style="color:#999999;">installation</span><br />É um espaço de encontro e de cruzamento da linguagem cinematográfica com outras formas de percepção e de representação do corpo – do corpo íntimo e do corpo social, que procura fomentar outros diálogos com audiências diversificadas e não especializadas. A sua programação internacional inclui: vídeo, vídeo-documentário, cinema e instalação multimédia.<br /><span style="color:#999999;">It’s a space where the cinematic language meets other ways of perception and representation of the body – the personal body and the social one, that intends to stimulate dialogue with various and non-specialized kinds of audiences. Its international programme includes: video, documentary video, cinema and multimedia installation.</span><br />16 (Sex) Nov / 18h30 / inauguração <span style="color:#999999;">16th (Fri) Nov / 6:30pm / opening</span><br />17 (Sáb) - 24 (Sáb) Nov / Seg - Sáb / 16h00 - 19h00 / exposição </span><span style="font-family:georgia;"><span style="color:#999999;">17th (Sat) - 24th (Sat) Nov / Mon – Sat / 4pm - 7pm / exhibition *<br /></span>Diversos locais Several places, Torres Vedras<br /><br /><strong>ARTinSITE: DESVIOS/DETOURS II: FLUIDEZ E SENTIDO DO LUGAR FLUIDITY AND SENSE OF PLACE IN CONTEMPORARY THOUGHT AND ART</strong> lançamento editorial </span><span style="font-family:georgia;"><span style="color:#999999;">book launch<br /></span>GABRIELA VAZ-PINHEIRO (PT), TERESA FRADIQUE (PT), JOSÉ ANTÓNIO B. FERNANDES DIAS (PT), PEDRO GADANHO (PT), MIGUEL VON HAFE PÉREZ (PT), DIOGO SEIXAS LOPES (PT), LUÍS FIRMO (PT), MICHAEL DACOSTA BABB (UK), MICHAEL PINSKY (UK), SCOTT BURNHAM (CA)<br />Este projecto documental é o resultado das Mesas Redondas Desvios/Detours II - Fluidez e Sentido do Lugar, 2º Encontro Internacional Sobre a Importância do Local no Pensamento e na Arte Contemporâneos, realizados em Março (Torres Vedras, PT) e em Junho de 2006 (Londres, UK).<br /></span><span style="font-family:georgia;"><span style="color:#999999;">This documentation project is the result of Desvios/Detours II - Fluidity and sense of place in contemporary thought and art, 2° International Forum on the Relevance of the Local for Contemporary Thought and Art Round Tables, which took place on March (Torres Vedras, PT) and on June 2006 (Londres, UK).<br /></span>16 (Sex) Nov / 21h00 </span><span style="font-family:georgia;"><span style="color:#999999;">16th (Fri) Nov / 9pm<br /></span>Transforma, Praça do Município - 8, Torres Vedras<br /><br /><strong>CITIES OF DANCE? / ARTinSITE</strong> lançamento editorial </span><span style="font-family:georgia;"><span style="color:#999999;">book launch<br /></span>ADAM KOWALSKI (PL), ANGELA FUMAROLA (IT), CLÁUDIA GALHÓS (PT), FRANKY DEVOS (BE), GABRIELA DAEDELOW (DE), KATE MATTINGLY (US), KOEN KWANTEN (BE), LUÍS FIRMO (PT), MICHAEL STOLHOFER (AT), PIRKKO HUSEMANN (DE)<br />Cities of Dance? pesquisou o potencial de seis cidades diferentes enquanto centros e locais de interacção artística. Cada parceiro tomou o seu próprio caminho em descoberta da dança na sua própria cidade e sua apresentação. Estarão os artistas dentro da cidade focados no movimento e na coreografia, ou será que é a cidade que se move como um corpo dançante? Este livro apresenta-nos diferentes abordagens à ideia de dança contemporânea e ao fazê-lo exemplifica bem a realidade do mundo da dança: experimentando, procurando por novas formas e definições, desenvolvendo, abrindo, encerrando...<br /></span><span style="font-family:georgia;"><span style="color:#999999;">Cities of Dance? researched the potential of six different cities as cultural centres and places of artistic exchange. Each organizing partner took its own path to discover and present the dance of its own locale. Are there artists within the city focused on movement and choreography or does the city move as a dancing body? This book shows very different approaches to the idea of contemporary dance and by doing so very much exemplifies the reality of the dance world: experimenting, struggling for new forms and definitions, developing, opening, closing…<br /></span>16 (Sex) Nov / 21h00 </span><span style="font-family:georgia;"><span style="color:#999999;">16th (Fri) Nov / 9pm<br /></span>Transforma, Praça do Município - 8, Torres Vedras<br /><br /><strong>TORRES VEDRAS, APROXIMAÇÃO LIMITADA A UMA CIDADE, PARTE 1</strong> residência de pesquisa / conferência <span style="color:#999999;">research residence / conference</span><br />ANDRÉ GUEDES (PT)<br />Este trabalho tem como matriz espiritual a conferência proferida em 1971 pelo artista Robert Smithson (1938-1973) a uma plateia de estudantes de arquitectura da Universidade de Utah (a quem apresentou as impressões da sua visita ao Hotel Palenque no México em 1969), e segue evocativamente um método de abordagem, criação e apresentação semelhantes. Torres Vedras - aproximação limitada a uma cidade, parte 1 é uma narrativa híbrida sobre a aproximação do criador a este território particular.<br /></span><span style="font-family:georgia;"><span style="color:#999999;">This project has as spiritual matrix the conference that was given in 1971 by the artist Robert Smithson (1938-1973) to an audience of architecture students from the University of Utah, to whom he presented the impressions of his visit to the Hotel Palenque in Mexico in 1969, and will follow a similar approach method, creation and presentation. Torres Vedras - aproximação limitada a uma cidade, parte 1 it’s a hybrid narrative about the creator’s approach to this particular territory.<br /></span>5 (Seg) – 10 (Sáb) Nov / Seg – Sáb / 10h00 - 19h00 / residência de pesquisa </span><span style="font-family:georgia;"><span style="color:#999999;">5th (Mon) – 10th (Sat) Nov / Seg – Sáb / 10am - 7pm / research residence<br /></span>16 (Sex) Nov / 21h30 / conferência <span style="color:#999999;">16th (Fri) Nov / 9:30pm / conference</span><br />Transforma, Praça do Município - 8, Torres Vedras<br /><br /><strong>MEETING POINT</strong> festa <span style="color:#999999;">party</span><br />16 (Sex) Nov / 23h00 <span style="color:#999999;">16th (Fri) Nov / 9:30pm</span><br />Transforma, Praça do Município - 8, Torres Vedras<br /><br />* excepto Domingos <span style="color:#999999;">except Sundays</span><br /><br />Transforma B <em><strong>é financiado por <span style="color:#999999;">is sponsored</span></strong></em> by Direcção Geral das Artes – Ministério da Cultura, Câmara Municipal de Torres Vedras, APAP – Advancing Performing Arts Project, União Europeia – Cultura2000, Leader Oeste, União Europeia – Leader+, Fundação Calouste Gulbenkian, Junta Freguesia São Pedro e Santiago <strong><em>parceiros internacionais <span style="color:#999999;">international partners</span></em></strong> Tanzfabrik, Berlin (DE), Szene, Salzburg (AT), Buda Arts Centre, Kortrijk (BE), Armunia, Castiglioncello (IT), Silesian Dance Theatre, Bytom (PL), La Mekanica, Barcelona (ES), Workspacebrussels, Brussels (BE) <strong><em>parceiro especial <span style="color:#999999;">special partner</span></em></strong> Fundação Serralves <strong><em>é apoiado por <span style="color:#999999;">is supported by</span></em></strong> Hotel Império, Império Express, Instituto do Emprego e Formação Profissional, Águas do Vimeiro, Torraspapel, STO, Informestre, Westin CampoReal, Bretescar, Centro Cultural de Belém, Slingshot, Comissão Vitivinícola Regional Estremadura, Barraqueiro Oeste, Câmara Municipal de Torres Vedras <strong><em>parceiros locais e regionais <span style="color:#999999;">local and regional partners</span></em></strong> Física Torres Vedras, Escola Superior de Artes e Design de Caldas da Rainha, Escola de Serviços e Comércio do Oeste, Escola Pde Francisco Soares, Escola Henriques Nogueira, Galeria Municipal Paços do Concelho, DoisPaços Galeria Municipal, Tuna Comercial Torreense.<br /><br />TRANSFORMA<br />Praça do Município, 8 2560-289 Torres Vedras, Portugal<br />T (+351) 261 336 320, F (+351) 261 336 322<br />E transforma_b@transforma.mail.pt<br />W www.transforma-b.blogspot.com<br /></span></span><br /><br /><br /></span>Transformahttp://www.blogger.com/profile/11139847328945551611noreply@blogger.com0